Painting the Eye | Kristy Gordon | Skillshare
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5 Lessons (40m)
    • 1. Introduction to Eye Painting Class

    • 2. Eye Painting: Materials

    • 3. Construction of the Eye

    • 4. Eye Painting: Color Mixing and Color Lay In

    • 5. Eye Painting: Finishing Touches

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About This Class

In this 40 minute class you will learn to create a well-structured painting of the eye with convincing colors. We will begin by discussing the construction of the eye, to get accurate structure in the underpainting. Then we will move to color and concentrate how to mix colors and how to add details like the highlights and eyelashes. You can use any medium you like in this course. I will be doing the demo in oils and will provide a suggested supplies list for those interested in using oils.  By the end of the course you’ll have a painting of the eye that you’re proud of as well as a solid understanding of how to render the eye which you can carry into all your future paintings! The class will include a demonstrations, discussions and individual instruction. The beginner will learn fundamental principles such as how to mix colors and render form modeling. The more advanced student will discover how to take their work to the next level and achieve the finish that they desire.

Check out my other classes:

Portrait Painting from a Photo: Underpainting

Portrait Painting with a Full Palette

Glazing, Scumbling and Impasto Paint Application Techniques

Composition in Art


1. Introduction to Eye Painting Class: I'm Christie Gordon and I've been a full-time artist since 2004. I've shown my work in exhibitions across Europe and North America, and taught drawing and painting classes at schools like the New York Academy of Art and the National Academy in New York. In this class I'm going to show you how to paint the eye using a wet into wet alla prima technique. We'll start by discussing the construction of the eye and then I'll show you how to apply those principles in the initial under painting. There'll be lots of shots of my palette that'll show you exactly how I'm mixing the colors that I'm using as we move to color lay in. I'll show you how to describe the different planes that make up the eye socket and the surrounding area of the eye, as well as how to add details like eyelashes and I highlights. I'll provide the same photo that I'm using so you'll be able to work along with me in this class. So let's get started. 2. Eye Painting: Materials: So in terms of the materials I'm working on this glass gray palette by New Wave and glass pellets are really nice because you can mix on them, paint with them, and then scrape it off at the end with like a razor blade. And then I really like the grape pallets or wood pellets too, because it actually helps with mixing. It's more similar to the color of your painting. So it's easier to mix the tones on a gray or wood palette than it is a white palette. And as far as the colors that I'll be using, I'm using a slightly more limited palette than I usually use. I've just like removed the yellows and the greens from the palette to just simplify for the flesh tones that we'll be using. Basically, we've got some premix colors over here, which I'll show you and talk about more in a sec. And then I've just got the Pure Oil pigments. I'm using Lukas paints from Jerry's art drama. There are really high-quality paint and they're also like by far the most inexpensive that I found. So I really like them. And so I've got titanium white, cadmium orange. This is actually naps all read because there's a Alizarin, permanent yellow, ochre, burnt sienna, ultramarine blue. This is actually a Prussian blue. You can kind of see if I mix, it looks black at first, but if you mix a bit of weight and you can see, and it's a really rich, saturated blue. It's really beautiful. I've just recently added that to my palette. Then we've got Mars Black. And so in terms of the premix colors that we'll do this 1 first, this is when are referred to as my base shadow mixture. So you can see proportionally more cadmium orange and just a little bit of ultramarine blue. That's this one, not the Prussian Blue. And I'll just mix it up. We'll see if the proportions are right. But basically it mixes to a greenish brown. And then I've got a recently added pink to my palette. So I'm using some of the naps all red, which is yeah, mixes to a really nice pinkish color. Pink out of the tube is shockingly expensive, so you can just mix it up this way. I find it really useful to have this color on my palette. And I'm just using a palette knife to kinda mix up the colors. I'm waking my palette knife in between with a blue shop towel. The next color is a midtone gray. So mid tones kind of like the color of my palette. I'm using a bunch of white and just a little bit of Mars Black. Just mix that up. It should be like a mid tone. So I creep up on the amount of black because the black can be a really intense pigment so you don't want to start with too much. And once you mix it up, you can tell whether you need to add more. Actually, that's about the color that I do like it to be. It's, it's a little lighter than this palette, but that's an array. And then the next one is a blue, blue mixtures, what I call it. So it's a lot of white. It's a little bit less of the ultramarine. And then the next one will be kind of what I call like my base flesh color. And actually this color will work for all skin tones. It's just a base that will be tinting in various ways for various different shadow effects, et cetera. And basically it's made up with titanium white, so a lot of white, a little cadmium orange, and just a teeny tiny, tiny bit of this blue mixture. So we'll just mix that in. And again, kind of creep up on the amount of blue mixture. It can get really desaturated it if you add too much. So you can always add more, but just start with like less than you think. And I'll make sure use enough orange for this. I like to have this base of the so-called base flesh color. A little bit on the dark side because it's really easy to add white as you're working, but it's a little bit harder to deepen the color as you go. So this looks a little too saturated. I'll mix a teeny bit more of the blue mixture and the Bluemix, we're basically just d saturates the hotness of the orange. So that basically shows you the palette I'll be using and I'll be working on this Jesu board today by ampersand. And this is an amazing surfaces, really smooth. It's also got a little bit of tooth so it's not too slick. And today I'll be working on an eight by ten panel. So get your materials together and let's get started. 3. Construction of the Eye: So let's get started by taking a look at the construction of the eye. So print out this handout and trace along with me. And that way you'll get like a kinetic feel for the things that I'm discussing. So we'll start by looking at this front-facing i that shows the construction more clearly. And you can see this line here basically represents the axis that the eye tilts either in towards the nose. The nose in this drawing is sort of on this side, or it sometimes will slope away from the nose. So in this case it's kinda like a cat II type of effect where the tear ducts is lower than the outer corner of the eye. And then from there you'll construct the upper eyelid with two angled straight lines, with the apex favoring in towards the nose. And then the lower eyelid can be constructed with two angled straight lines with the apex favoring away from the nose. So you get this kind of skewed rhombus kind of effect. And then the upper eyelid, you can sort of use three angled straight lines to break down that curve. And to describe the lower eyelid. Sort of two angled straight lines on the outer edge of the eye, the eyebrow two can be constructed with two angled straight lines with the apex favoring away from the nose. By doing that, you're kind of going to avoid having this curved generalized Aja Brown instead get a more structured look to the browser. And then the iris, which is the colored part of the eye, is fairly large and it takes up half of the white of the eye. So you can see that if you were to break up the weight of the I kinda put both pieces of the weight of the i together. It would make about the same distance horizontally as the iris. And the pupil changes in size depending on the amount of light coming in to the eyeball. And the whole iris is covered at the top by the upper eyelids. So you can see you are not seeing the whole circle all the way to the top. That would give a really kind of staring, sort of looked at the I. And instead it looks more relaxed because it's partially covered at the top. And we'll come back to some details in this in a second. But we'll start by just noticing how there's a sort of rounding out effect of these angled straight lines that we discussed in this initial drawing. So you can kind of see how this curve can be summarized by a three certain angles. And that gives it more structure, more of a clarity to the shape of the curve. And again, you can kind of see how this curve, it's, it could be broken down into the two angles, straight lines that we talked about. And in the lower eyelid, this, these two angled street lines here get really rounded out, especially on the outer edge, where it really rounds and wraps around the eyeball. And then we have this little light rim of thickness on showing on the lower eyelid. So it's just this little light ledge on the upper plane of the lower eyelid. And then you've got sort of normally slightly darker front plane at a slight definition to the edge of the lower eyelid. And then the eyelashes turf and criss cross over each other and kind of wrap off of the line of the upper eyelid. And then the light source, which in this drawing is represented by this arrow here. The lights are sum, this drawing is coming this way, so it's cutting down on the eye. And so at the upper i, we get a cast shadow coming down onto the whole eye. And so it's overlapping the white of the eye casting on the way the eye it's casting on the iris. And then if we look at the profile of the eye, the upper eyelid is constructed by these angled straight lines. It's almost like a triangle, but it's open at the bottom. So it's a big wedge shape. And then it crosses over the lower eyelid. And again we see that little light ledge, the little thickness, which is usually light on the upper edge of the lower eyelid and then a front plane. And then we've got the iris, which is a very narrow oval. It's covered at the top by the upper eyelid. And the interesting thing is that from the profile, you can also see the cornea, which is this clear dome that sits in front of the iris and the pupil. And then also the upper eyelid has more height. C, if you kind of look at the height that's made up of the upper eyelid and then the height that's made of the lower eyelid. There. There's more height to the upper eyelid. So if you were to imagine, if we say, if we have our iris, which is an oval and ellipse in perspective, and we brought the pupil right in the center. I'm going to extend that back right through the center. As we construct the upper eyelid. The upper eyelid crosses over the lower eyelid, lower than that center line. So Yeah, again, there's more height to the upper eyelid. And then the other thing is that there's a certain angle created between the upper eyelid and the lower eyelid. So the upper eyelid has quite a bit of thickness and it sticks out quite a bit from the I and the lower eyelid. It wraps more tightly against the eyeball. So the upper eyelids sticks out further and creates a certain angle between its relationship to the lower eyelid and then extending off of the line of the upper eyelid, we get the eyelashes. And again, there's that little light ledge of thickness on the top plane of the lower eyelid. And that as we look at the eye in a three-quarter perspective, all of the same sort of principles apply. You can construct the eyebrows into kind of two angled straight lines. You can construct the upper eyelid into two angled straight lines and it curves into the eye lashes. And then the upper eyelid can be constructed with three angled straight lines. Again, the lower eyelid really wraps around, really curves at that outer edge as it wraps around the white of the eye. And the Iris from a three-quarter view is an ellipse, so its a circle and perspective. So it appears more like a sort of oval. And again, it's covered at the top by the upper eyelid. And there's the pupil which is also covered at the top. And you get a kind of cast shadow coming down onto the white of the eye and onto the pupil. Again got that little late rim of thickness that's showing the top plane of the lower eyelid. And I'd suggestion of the front plane of the lower eyelid as well. This just shows here how the pupil contracts in bright light and gets larger in dim light. And it often looks better if you kind of make the pupil just a little bit bigger and kind of use that casts shadow that comes down on the eye to kind of connect to the pupil. And it just tends to look more relaxed, kind of set into place. A lot of the time when we're painting a model and we have like a really bright light on the model, their pupil will get really small. And so it just looks a bit better if you kind of create a way to have that pupil connect to the cast shadow at the top of the upper eyelid. And here I just wanted to show you in more detail. So we've got the upper eyelid, we've got the iris in front of it sits the dome, that clear dome, which is the cornea. So the cornea scoops outwards. But the interesting thing is that in fact the iris scoops inwards a little bit. So I wanted to show you how that applies in a sort of bowl shape. So again, this is a concave shape just like the iris. And I've got my light coming from this direction, the upper left-hand side, just like the drawing that we were just looking at. And you can see you that in that case, the lightest part of the school, she picks up on the lower area, on the right hand side, the opposite side that the light source is coming from. And we get a cast shadow coming down on the top part of the iris. And so how that affects our final details is that as you described the iris and again, you'll get that in the late sources coming from the upper left like the bowl that I just showed you. Again, you'll get that cash shadow coming down at the top. So the iris there'll be darker at the top. And then you'll actually get the lighter part of the iris showing him this lower right-hand corner. Basically, whatever is opposite the direction of your light source. So that's where you might put just a little dash of lighter blue if it's blue eyes are like later Brown if it's brown eyes, That's where the kinda lighter crystalline kind of colored part of the I will show. And then the pupil basically catches on, it's catching on the edge of the cornea. So it's occurring on the same side of the light source and it occurs right at the edge of where the pupil meets the iris, just that little white dot. So I hope that'll help you understand the construction of the eye. 4. Eye Painting: Color Mixing and Color Lay In: Let's take a look at exactly how he makes the flesh tones, starting with a warm color for the under painting and then moving into color, Liam. So I'm going to start with a warm color using some burnt sienna and Alizarin permanent. And just basically mark in some of the construction lines of the eye and the eye socket. So I'm using kind of angled straight lines anchoring in the lower eyelid. I've got the eyebrow in just sort of getting the construction and the placement on the canvas. And then I'm gonna mix in a little teeny tiny bit of Mars Black and some of this base shadow color mixture, which is made of ultramarine blue and Cadmium Orange. And I'm just going to go into the darkest parts of like the crease above the upper eyelid and the line of the lashes and the iris with that color. And then I'll actually get some pure Mars Black and just pumped up the very darkest notes of like the pupil area and the eye lashes. And then I'll mix up more of an overall shadow color with the burnt sienna Alizarin permanent, a teeny bit of Black and some of that base shadow mixture and just start to fill in some of the broader shadow areas with my Filburn brush. While also concentrating on brush technique and letting there be a certain finesse to the edge of each brush stroke. I add a tiny bit more Alizarin permanent into that mixture that I've been using to just warm it up even a little bit more and carve out that shadow on the outer corner of the eye that kind of anchors the upper eyelid into the lower eyelid, into the eye socket. There's a really beautiful shadow pattern that occurs in there. I got the tear duct in with pure cadmium red and with black, I punch up the eyelashes one more time. And I also kind of carve out the exterior shape of the iris. And as I do all of these initial stages, I've mixed a little bit of walnut eloquent medium. You can also use linseed oil to make the paint slightly transparent and then to mix the base flesh color will be using this a so-called base flesh color and we'll be basically tinting it. So I feel like it could be slightly cooler for some of the lights that I'm going to start with. So I'll do that by just mixing a little bit of gray in. And I'll just lay that into the light side in the upper eye socket area using my Philbrick brush and kind of twisting it around as I go concentrating on having, you know, nice brushstroke. And as I do all of these flesh tones and the lights, I'm using pure paint with no medium mixed into the paint is more opaque and thicker. And in some places I might go a little cooler. So I'll add some gray and some blue mixture and still a little bit of the base flesh color. So at this point I'm carving up the different planes of the features. So the upper eyelid has a front plane aside plane and another side plane. And I'm just adjusting the temperature as it goes to the center front plane is more cool. The side plane to the right is a bit more warm with some base shadow colors and base flesh color as well as some burnt sienna and a little Alizarin permanent. So I'll just carbon that side plane and lighten up by adding a little white as I moved through the front plane, still concentrating on doing nice painterly brushstrokes. And so as I move forward into the colors and the light, so I'll either make it a little bit cooler by adding a bit of gray or blue mixture. Or also titanium white, always looking whether it needs to be lightened by titanium white. And sometimes I'll make it a little warmer by adding a little bit of pink or red, or even a little bit of burnt sienna. And I'll do the same thing with the shadows, basically using that base shadow color mixture, which again is a slightly greenish brown. And you'll often find that that's just a bit too dark, so I'll add just a little bit of the base flesh color into that and use a little ultramarine blue. So I'll just be making little tense basically to that base shadow color mixture for the shadow areas. And so right now for this node, because as you can see it's slightly greenish brown. I've used the base shadow color mixture and just lightened it ever so slightly with some of the base flesh color. I'm filling in the whites of the eyes with gray paint. You want it to be, you know, pretty dark in tone, definitely not to white. And I'm just kind of increasing the contrast and the warmth of the line above the upper eyelid with some burton, sienna and base flesh based shadow color. Just kinda working the transition between the light side into the shadow side. As well as the different plane changes from the light side of the front plane of the upper eyelid to the darker shadow side on the left of the upper eyelid. And then I'm just going around the perimeter of the iris, the colored part of the eye with some Prussian blue. It mixes in a bit to the gray as I go. So I just reload my brush with more Prussian blue. So I'm just kind of creating the exterior shape of the iris. And then in the crystal, the colored part of the, I am just mixing a little bit of yellow ochre in with that base shadow color that I've been using, which is just the base Shadow Color mixed with a bit of bass flesh color. And just introducing that around the lower part of the iris and then also going into the pupil with just pure black paint. And I started to describe the thickness of the upper eyelid, basically the lower plane with a burnt sienna and a little bit of Alizarin permanent and some base shadow color mixture does describing that darker lower plane thickness of the upper eyelid. And then I'm also working the transition between the suggestion of eyebrow, which is that cooler note, into the very subtle cast shadow. That's the warmer burnt sienna note, just making it like a more blended transition. Just a little bit smoother and more subtle so that you can barely see where the eyebrow ends and the cast shadow starts. And then also kind of refining that shape of it to kind of get the form of, you know, where the tear ducts meet the face. So I'm just using my Filburn brush to kind of finesse some of the transitions and some of the the shapes of the forms that lower eyelid getting the exact articulation of that, that shape, but there's a certain squareness to that shape. So that basically shows you how I would begin the painting, starting with the initial construction of the eye and then moving into color lay in and then describing the different planes of the feature. So I'll get you to start your painting, moving through under painting and color lay in and then describing the planes. And the next video we'll cover some of the finishing touches. 5. Eye Painting: Finishing Touches: So as we move into the finishing details are gonna continue to refine form and add the finishing details like eyelashes and I highlights. So right now I'm just kinda working the turning of the form that rolls down underneath the eyebrow towards the line of the upper eyelid. I'm also kind of refining the temperatures. I see like a little bit more of a cool note right at the edge of the lower eyelid. And I'm gonna describe that top plane that I talked about in the handouts of the lower eyelid. This sort of leverage, the little light room of thickness on the ledge of the upper eyelid. And I'm using Bayes flesh color mixed with a teeny bit of now to solve for this note and sort of softening the transition between the planes that I described in the earlier stage, letting them role more gradually from the front plane to the side plane. And now I'm starting to deepen into the darkest note. Right above the upper eyelid. It hits a really dark, warm, burnt sienna mixed with base shadow color mixture. Note just really hitting the full contrast. And looking at the shape, the exact shape that's created as that note rolls down towards the place where the tear docked connects with the face and anchors the eye into the face. And I'm also punching up the cast shadow underneath the upper eyelid. And I'll just do a couple gestural brushstrokes for the eyelashes. You don't want to overdo and over paint the eyelashes. Just a suggestion of them will look nice. And describe one more time that plane change from the top plane of the upper eyelid to the darker, warmer, lower plane of the upper eyelid. It's really important to get those plane changes to the eyelids. And the way it transitions, the way the eye transitions into the tear duct, the warmth of the tear duct with a pure cadmium or I'm using nap thought I'll read a very warm red. And I'm just placing some slightly darker notes as the upper eyelid moves back towards the crease of the upper eyelid. So I'm getting that tonal shift that occurs as we roll back on that plane and just softening edges. Softening the edge between this darker note in the shadow underneath the eyebrow. And punching up that line with a nice rich brownish darkish note. Carving out the angles that make up the upper eyelid. Really like getting the sort of clarity to that shape. And also punching up the top of the iris with a darker note, really making sure that it rounds around the shape of the curvature of the eye. And then just softening that note of the white of the eye where it meets the tear duct. It's got a very blurry soft edge and carving out the shape one more time of the, of the skin that's coming out around the tier dogs. With a coolish note like base flesh color mixed with some grey. It's mixing into the red of the tear duct a bit, but I'm sort of working with that and just introducing a few more cools into some of the colors. The front plate of the lower eyelid has a little bit of a cool no mixed with some of that base flesh color and some gray and a little bit of the blue mixture. And I'm using vertical strokes. You can see I'm kind of wiggling my brush vertically. So it's like carving out. It's like running down the shape of that front plane. Softening the edge one more time in that brush stroke there. And just kind of refining the shapes and the tones and the planes. I'm just punching up that note of the upper ledge of the lower eyelid when more time with the base flesh color and also making the white of the I have a certain rounded quality so that it's rounding into a darker note at the corner of the back, the back corner of the eye. Introducing a little bit more of the yellow ochre of the colored part of the eye, moving up to a bit more of a burnt sienna noted at the top. And this line coming down from the tear duct. This is actually a suggestion of the skull. It's the shape of the orbit of the eye, of the eye socket, the whole of the eye socket where it kind of meets the nasal bone? Yeah. So it's the bony structure is actually showing through right there and just kind of wiggling with the little wiggles stroke at any edges that need to be softened and lightening up a little bit at the very top of the form that's rolling up from the upper eyelid. I'm introducing a little bit more of a cool note along the eyelashes so you can see that I kind of do something and sometimes come back to it and refine it a little bit more. Kinda working the colors, making it a little bit less saturated in that brown side plane of the upper eyelid. And then I'm kind of darkening the back part of that led on the lower eyelid just so that it rolls back in space. And then just dabbling a little bit of lighter notes as it comes towards us in space. Kind of just placing them on and adding some little highlights on the center area of the upper eyelid. And initially they went on a bit strong, so then I just saw it in a little bit. And really like working the rounding of the white of the eye and the curvature of the iris, getting it to be nice and round. And that transition into the redness of the tear ducts does making sure that it occurs really gradually, you know, really in a soft blurry sort of edge that is really going to help give a lot of sense of form to the eyeball itself. And just continuing to work that lower ledge of the upper eyelid, the lower plane, lower, warmer plain. And the way that it gets a little redder as it moves into the tear docked and refining the tones. That very upper lid kind of rolls into a slightly darker note as it rolls to the left. So just really controlling the tones, making sure that nothing is too light right in that area, while still maintaining the sense of the different planes that make up the form. Does putting a little teeny little dot of light pinkish color right in the very center of the tear ducts to give that kind of glimmer. And adding some tiny little highlights around the tear duct in that form there. And kind of refining the shape of the iris. So it's darker around the outer perimeter of the iris. And then it gets a little later as we move to the center. And I'm punching up the contrast of the lashes when we're time introducing them back. Since I kind of painted over them at 1. Just with little quick little strokes. I'm also putting the little I highlight in, which occurs right at the place where the pupil meets the iris coming from the light side. So in this case it's the left side of the pupil. And also softening the edge of the iris. So once I've got the oval kinda shape of the iris, I don't want any hard edges. I want it to just be slightly blurry, slightly soft. And I'm kind of adding some of the later notes within the iris. One more time. The little radiating outwards like a son, little lines. And so as we really move into the very finishing touches, we wanna make sure that we have enough contrast, not too much, but you know enough. So I'm darkening One more time into that plane where the form above the upper eyelid rounds into the crease of the upper eyelid and also where the eye brow merges and males in that shadow that's right underneath it there really nice rich burnt sienna note. So Yang using a burnt sienna note. And I'm just softening that once I have put the full contrast of an N, I kind of soften the edges of that with this little wiggles sort of stroke that I'm doing. Introducing in this case a little bit of a cooler note. So it kinda contrasts with the warmth of the heat of the burnt sienna. And just really working that forms or just turns gradually darker, darker, darker, darker All the way very gradually into the crease above the upper eyelid. So it's really important to get the turning of that form. It's a really beautiful form. Yeah, that one right underneath the eyebrow, just rounding gradually darker. And then also right at the outer corner of the eye, there's a really beautiful form, almost like a smoky eye shadow where the line of the crease of the upper eyelid kind of rounds and turns and blends into the form that describes the place where the cheekbone meets that form. That's right underneath the eyebrow. And so I'll put that in. And then I'm introducing a little bit of a cool note right at the transition. A lot of the time you'll find that there's a cool little band of cool rate at the place where light meets shadow. I'm introducing a note that's got some base flesh color and some Prussian blue and a little bit of the shadow mixture because it's a slightly darker cool in this case. And I'm also adding some of the cool notes to the latest parts with some blue mixture and titanium white and a little base flesh color so it's not to blue. So I'm kind of introducing the notes where there's some cooler, cooler moments in the lights and at the transition between the light side and the shadow side. And then kind of softening the edges of those notes so that they just blend in and kind of fit in. India's continuing to kind of soften edges, soften transitions. Just lightly, lightly brushing. At places where there is a strong transition. Brush stroke maybe stands out too much or something like that and wipe my brush off in-between on my rag actually offscreen. So the brushes sort of clean. So it just kind of moves the paint that's already there, like wet into wet, sort of together. Just creating a nice blended transition, a nice smooth sort of blending. I'm also punching up the highest dark is contrast area, which is right underneath that line of the lashes on the iris and the pupil. And doing a few more little gestural, little strokes for the eyelashes. Just keeping it kinda loose and gestural and and kind of pulling a darkest, very dark note right at the back corner of that i and then kinda working it in and sort of mixes into the paint that's there. So that it just kinda, it actually lightens it up a little bit. And just carefully hitting a few of the latest crystalline notes with the yellow ochre maize mixed with base shadow color mixture. Just to get the kind of sparkly crystalline Lee I part of the iris. And I'm using a small little bright brush, which is the square tipped brush. So I can actually kind of use the corner of that branch to go in and get very small details. And I've also just wiggling along the edge of the iris one more time, just softening it one more time and making sure it's dark enough, you know, introducing a little bit more Prussian blue right at that edge. So that its darkest at the very edge of the eye. And just pulling the line of the lash One more time with just plain black right along the lower edge of that upper eyelid. And continuing to soften. Soften forms, you know, just kind of brushing at any places where the two brushstrokes meat and it feels a little bit too sudden or to contrasty. Going in one more time to that back corner of the eye. The very darkest note as it At the back edge and at the top edge, just really pulling the full contrast in. And that's a dark, warm note. It's catching a bit of glare, but it's not pure black gets blackish brown, so it's got some burnt sienna at some base Shadow Color Mixer, some black as well, but it is kind of on the warm side. And just softening that transition to, again, I'm sort of wiggling my brush along the edge of where the two strong brushstrokes are meeting to just create a sort of wet into wet blending of the paint that's already on the panel. And I just extended the line of the eye lashes over the line of the lower eyelid. So the upper eyelid crosses over the lower eyelid. And I'm just kind of doing some nice gestural strokes with thick paint as I really go into the top plane of the cheekbone with a slightly lighter, slightly cooler note. I'm doing nice brush strokes because it's nice if the edge for this painting looks kinda like it has a certain finesse. So I'm kind of rotating my brush around and just trying to make nice looking brush strokes. And I'm continuing to soften edges. Just a wiggling my brush at any of those transitional brush strokes that need softening, just blending wet into wet, and continuing to punch up that crease of the upper eyelid with a nice warm note. Really just working over and over to get that churning of the form from the lighter note at the top as it rounds, darker, darker, darker all the way to the crease of the upper eyelids. So gradually and then softening some of the edges again and adding a couple more little cool highlights on the very centre top of the upper eyelid. Kind of dabbing at that ledge on the lower eyelid, that little Lightroom of thickness one more time. Just to make the paint sort of feel more like a forum and less like a kind of streaky paint blog. So I'm just dabbing and I'm like placing the page along that edge and its thick paint, you can see that it's got like a thickness. It's kind of impasto and then I kind of dab at it one more time to, you know, like soften it down a little bit. I'm kind of moving my brush vertically to carve down on the front plane of the lower eyelid now, which is also softening the transition from the top plane. Well, without losing it. Yeah, just softening going a bit and softening one more time. That transition from the front plane to the side plane of the upper eyelid and softening one more time. The transition from the white of the eye to the red of the tear docked. Just making sure that there's a nice clear little Lightroom of thickness all the way along the top ledge of the whole lower eyelid. And kind of working the shape of it as it meets in the tear duct. And I am using thick paint for those light notes. That looks good if thick paint is used for the latest notes. And softening One more time along the outer perimeter of the iris. And also darkening towards the top of that white of the eye is a teeny bit more. And having the lower the lower edge of the upper eyelid just be a little bit clearer, a little bit darker, a little bit more change from the top plate to the lower plane. And kind of emphasizing the curvature of the white of the eyeball test a little bit more. It's later in the center, darker towards the top and the bottom. And I'm really spending a lot of time to make sure that the edge of the iris, the shape is a nice ellipse which is a circle and perspective. And then the edge is very soft. Yeah, all the way around. And the yellow ochre notes of the crystalline part of the, I moved to more of a burnt sienna as the iris moves up towards the cast shadow that's coming down on it. And I'm darkening the pupil One more time, making sure that it too is a perfect ellipse, a circle in perspective. And the eyelashes kinda connect into that darkness note. And then I add the highlight. So that shows you how I would begin with under painting and move through color layer and add the finishing touches in an eye painting. I really hope you've enjoyed this class and it makes all the difference in your paintings.