Realistic Mouths Digital Painting: How to Draw Lips with Photoshop or Procreate | FMB Artist | Skillshare

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Realistic Mouths Digital Painting: How to Draw Lips with Photoshop or Procreate

teacher avatar FMB Artist, Every second happens only once.

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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

16 Lessons (1h 2m)
    • 1. How to Paint Glossy Lips with Photoshop or Procreate

      1:49
    • 2. Lips Theory - Part 1: Shapes and Shades

      5:49
    • 3. Lips Theory - Part 2: Colors and Rendering

      6:19
    • 4. Full Process Overview

      6:08
    • 5. Finding References

      0:56
    • 6. Project Step 1: Basic Shapes

      2:34
    • 7. Project Step 2: Base colors

      1:36
    • 8. Project Step 3: Global Shadows and Light

      2:22
    • 9. Project Step 4: Round of detailing

      5:25
    • 10. Project Step 5: Round of detailing 2

      5:04
    • 11. Project Step 6: Lights and Shades Touch-Ups

      7:00
    • 12. Project Step 7: Final Magic Touch

      3:21
    • 13. Speed Painting Warm Up: 1-minute Lips

      7:02
    • 14. Speed Painting Case Study: 20-minute Full Lips

      4:47
    • 15. Conclusive Note

      0:21
    • 16. Featured Class: Watercolor Portraits

      1:11
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About This Class

Before getting good at portraits, an artist must learn how to draw every individual features. The lips or the mouth are a important facial features which give immediately the mood of the drawing. Well done lips can make your portrait wonderful, while bad ones... well, they make it awful!

This tutorial will show you how to trace the lips from theory and from observation. A focus is given to female lips but the same principles apply for men lips as well. 

You will then learn to color the lips using the digital tools of Photoshop. The tutorial will work as well if you use a tablet and procreate, or any other digital drawing software.

Material

  • Tablet or computer
  • Digital Painting Software or App (Photoshop, Procreate or other)

If you are not equipped yet for digital drawing, I suggest you watch my very short course: Getting Started with Digital Painting, which is going to show you which material you should use.

Thanks for your support!

Meet Your Teacher

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FMB Artist

Every second happens only once.

Teacher

When I ask to my family and friends, they say I'm a diversified person. I do arts, yes, but I'm also passionate about sports, writting, programming and pedagogy. I deeply believe that every human being should expand his skills and interests in several fields! We are not supposed to be repeatedly doing only one thing for the rest of our lives! We need to go out and learn new stuff, get out of our comfort zone and start being more than just one thing!

Here on skillshare, I think I can share my knowledge about digital arts and drawing, and I can also learn a lot. Knowledge is now accessible more than ever, and I really hope my input here will bring good value to your life!

FMB

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Transcripts

1. How to Paint Glossy Lips with Photoshop or Procreate: Hey guys, I'm FNB today. I'm gonna teach you how to create a beautiful digital painting off glass ellipse. This tutorial is about digit told drawing. So you will still be able to apply a theory if you're draw my end. But it's better if you're using a digital software for deaths will focus mainly on the female lips. I will be able to apply the same principles to male lips later. So first I'm going to show you the lips theory. In about 10 minutes, you learn how to draw lips from the beginning to the end, out in good contours, good shapes, right shading, and you'll see that it's really easy to create a company digital drawing in just 10 minutes . We will then do together step by step project where I will show you how to realize a complete and detailed any realistic lips painting. In about an hour, we'll go true. Every step I'm gonna show you all the little details and all the tactics I'm using Unforced . For those who want to improve their speed on, they're gonna share my tips so you can get very efficient drawing. I will first challenge you to draw lips in one minute, just a comforts. And then I'll show you how to reduce your time for an hour to 20 minutes to do a complete digital drawing. At the end, you'll adversaries off a lot of other time. Last examples if you want to have more inspiration for own drawings, so before we start first, make sure you have all your material ready. If you don't know how you should be equipped, make sure to watch my course getting started with digital drumming, which is going to explain to you everything. Finally, please just follow my skills, sharp age and also have a look at my other social media, So let's get started now. 2. Lips Theory - Part 1: Shapes and Shades: Okay, here we are. We're going to start with the lips theory. You'll see that in less than 10 minutes will be able to create our pulpy, glossed lips. Um, the first part of this lobster is really about from the shapes and the basic structure off lips for distant Auriol. I'm using the normal speed of drawing because I really want you to do it as I am I doing it so you will really learn that it should not be too long. Okay, the first time was gonna take you a little while, but you'll see by just practicing. And you should be able to complete full mouth in 10 minutes, and then you would make it better and better and better. It could take up to an hour. I want to start with a big rectangle and divide it with aneurysm, tow line and a vertical line. This is really just for you to put the construction lines that are gonna low you to create a realistic mouth. Um, you see that I'm on poor create for this. You could do it on for shop. You could even do it on paper. Since we're just practicing the basic ships. Once you're done with your construction lines, you're going to start by drawing little triangles at the intersection off this side of the rectangles and admitted line. Then in the middle, off the cross, I'm creating a little space, which is going to represent the distance between the tulips. It's not mandatory to dry it, but I like to do it because it's making it look like very feminine lips. There's a little V on the top off the lip, which is just under to know. So I draw it and then I'm going for the middle line. So I'm just trying to make a link between the 1st 2 triangles we draw and the center off the cross so those lines have to be flowing. You can make sure that they are kind of a little around, and then when your centre line is done, you're going to complete the shape by just drawing a line. Cem for the top lip and the bottom lip, for this is it's just going to be very different from lip to another. So just let go your creativity and you can decide off a shape that you like on and That's what is great with lips. There. So many different kind of flips are all after same structure are. But you can make so many variations. And this is why I love drawing lips. Eso just experiment. I suggest that wit the basic structure you add. I'm lying direct angle you are. You can try to draw different lips. And just by varying, for example, the ICT often middle line. For example, you could have a smaller upper lip in a bigger lower lip. You'll see that it's it's a very different look. You could also decide, for example, to have rectangle that is more elongated, so lips that are more thin in mouth that is wider. And you see by just playing with different size, different proportions. You'll have a very different look for sure. When we are creating lips for women, they are bigger, you see, like they are really, really round. Are were really concentrating on the female lives for this tutorial, so you'll see that. But for male, you just have to make Beatrice like, more subtle. Okay, um, so once your line are done, let's just have a look at the shadings. Because even though lying delight can be different if it's on the top on the side. Well, there's always shades between the lips and under the lip. A little bit eso you see that I'm using a round brush that is really soft, and that is much bigger than my baselines just to create on those area of shadows that we all have. If you have ah, lightning, that is, let's say straight above you. That's the kind of shading. You will see your lab variations if your light is different but outside or just in a room. Normally, day light is coming from the top. So this is why you always have similar shading. Once you're done with those basic shading, you can try to stem but a little bit using just a tool to make it look more smooth. Are will correct it later, and you can also start to think about where would be the reflections sue for death. I'm selecting just another caller in this case just a white, because I'm working in black and white and you see that the round part of the lip the bottom lip is going to have this big white reflection on it. because the light is coming from up and this part of the lip is directing toward this direction. So this is why we see clearly, Um, the revelation there also for the top lip at the junction, just between the skin and lip most likely will be some reflection. So I've drawn a little white line there this fall, so we get closer to the end off our birth basic shape. Next, we're gonna learn out to transform this into more detailed artwork and putting some colors , so be ready. 3. Lips Theory - Part 2: Colors and Rendering: awesome. So the next part of this drawing is to put some details and some colors. Right now, we do after right shapes, and we do after right basic shadings and lights. Our goal now is to add some details, so it starts to look more realistic, more refined. You want to get a rendering that is a bit more defined for this part. So you all observed that lips do have those little riffs or little fold that are caused by the fact that it can stretch and come back to their initial shape. So I'm using pencil and procreate just to draw idols lines. I'm using an A pass ity that is not to art. And I'm also using, um, brush that pillows to have finer tips. It's not like a big, bold line. It's really like a finer at the beginning and the end off did a pencil, a line that I'm tracing and those little riffs. You just have to draw them a little bit everywhere. They kind of begin from the center off the amount the opening between the lips and the expense worth e outside, and they have a little bit of frankness and them to kind of show how much, er the lips round. So once you draw your first aligns everywhere, well, you're gonna use a smart stool to make those lines smoother because otherwise it looks very apparent that we just draw them on top half the rest of the trying and also I This much, too, is great because it can just take a little bit of dirty dark color from the middle and expand its color towards the outside the lip. So it's it's great. And then I'm using a bigger smudge tool again to merge a little bit everything together. So very soon you'll see that you have lips that are more detailed and they look a little more realistic. 10 before and it should not be long. Really. You just draw those little wrists, use this, must you'll here and there and correct the global appearance of things. I could also work a little more the shadows around the mouth on their eighth and into corners to be ready for the next step, which is actually the coloring. It's very exciting because there were going to give life to our drawing. Well, I'm not original here. I will go with a beautiful crimson red. And for that I'm using a brush that can have a better capacity. And I'm just doing the contour following my lines. At the moment, I'm drawing on another layer, which is on top off my my lips structure. But eventually I just put it on there, and your goal is just to fill this area. Are wit a solid red color or any other lipstick color that you like? Um, and you just have to make sure that it's very I'm that Zaveri uniform red that we put this under our contour and shitting layer. So you see already, I think the effect is astonishing. We'll just add more shadows using around soft brush. So I'm adding shadows around in middle lips and just to enhance the shadows and make sure it's pretty dark here. And I also, um, I'm just trying Teoh emphasize on the riffs that we've created before. So in the other direction, I'm drawing a little more shadows here and there, from the center to the outside part of lips, and I do that for the bottom lip and the tops like this well and the only lasting last left is to use a very big brush with a pink that is much lighter than the red. So I'm just also enhancing a little more dear light part that we add before. So my last effort, a color is just to use this much tool to smooth the contra villas. Because you remember I used a solid brush to do that. And we still see the transition line, which I want to avoid. Eso you see that? It's great right now we do have our lips. I would like to have a final touch up that suddenly brings some magic. Okay, because it still looks a little flat. So for data, we're going to add you reflection and you'll see that reflection are just super simple. Perfection are just wide clubs here and there. Eso to do so, I will use a brush which is found in procreate, and that is called light brush. So I'm going back on my contour layer to add those lights element and and this my brush. I'm gonna use it on my first layer with all the Contras line really is just it's like free forms. I'm just doing zigzags and circles you're putting little dots, especially a D corners of the mouth and aware of the tulips touch because sometimes there's a little bit off immediately here, and that reflects delight. What? So really, that's that simple final touch. And you see, in less than 10 minutes we add those lips, those wonderful, glossy lips, super easy to do. And this story will be applicable to our next realistic drawing that we're going to start effort to project. 4. Full Process Overview: before we start this That by step Project demonstration. I wanted to show you time lapse off the full process. So you know what's a waiting for you in next? After an hour or so, you'll see all the steps in this video. So this video is a six minute long. It's actually accelerated 10 times. So the old process normally took about an hour. You see that? I'm creating the shapes of the lips using the structure I just teach you in the last video . And then I'm starting Teoh work with Do depart. It is on the far. It s so I'm going with the teat because they are by far away. So this is why I'm doing it first. So why are you watching? I like Teoh. Bring to your attention some things. If you want to get good at digital drumming, the first thing is observation. It's super important to observe and b you where off old legal details. So if you're taking the bus or sometimes you're at some place is waiting. Um, I solutions that you look around you and you try to understand, um all delight works where you are, so you just look at the reflections. You look at the people around you and you try to see a wider door. Physical appearances this way. Where is the light are reflecting? What are the shapes off their mouth? Nose ice is just going to help you to understand all facial features kind of arranged together. The other thing is aware practice. It's OK to practice, but if you practice without being concentrated or without having a goal, you'll kind of do whatever. And it's not good. It's important that you're really mindful when you practice and you try to reach something for that kind of drawing that we're doing today. We're trying to reach realism, but we are restricting ourselves, so it's not taking too long. Not more than an hour, for example, you could prevent yourself from zooming too much. Otherwise, you're going to take, like, one hour for just one of the one of the teeth, which is not a good thing. Eso You really have to decide to work globally. All the impressions on Ben, you refine impression to a certain level of precision. So for those lives, for example, will I've started with base colors and then shades and lights, and I'm adding the reflections. And I'm just looking mindfully at the drawing to remark. What is the most important thing that I have to draw? So it looks like the drawing. Very important on also, to get good at this, you've got to practice a little bit every day, or it's better to do to do it in different sessions, because if you draw eight hours in the line, you'll be tired, and that's important. You're not learning anymore. And just like working automatically. And that's not the best way to learn since. Better to do a little bit every day because this time you take to get really concentrated and find your flow is actually your brain, learning how to be efficient and drawing and putting back things together so you can start faster and faster every time you're starting a drumming again. Another advice I can give you to improve is do the same thing many times. Let's see your drawing mouth and lips. Don't do only one project and go away. I recommended to do maybe 456 eso your brain can really learn how to do that and repeat it enough until you're good at it. Maybe Turkey is not necessary, but definitely at least five. OK, so repetition. Very important to learn and get good at things. Another thing you can do is isolate you work. Let's say you're drawing Portrait's Well, that's okay to say that one day you'll just your lips. And one other day you'll just run outs and another day, just eyes so you get good at every part. If it and when you'll get back to global portraits, you'll be better at everything. By isolating individually, depart the parts you needed to learn. You could do the same with your tools. Sometimes you're you're in a hurry to draw and do something I know, but it's important you take time to explore your tools before that by tools and meaning like the photo shop interface or procreate interface the brushes. So this is something you can do before starting, And maybe not on the same day that you want to draw, because just exploring the tool is not as satisfying us finishing and drawing, and I understand that you can just stay, can you document and just play with the brush. Look at the rapacity, their shapes, and you make a selection or off a tree to four, um, brushes that you want to use during your project and the time at the time where you'll be ready to start your project. Well, you'll have them ready, and you won't have to search for it. Tools, because it can really cut to flow off your prospect. So we're reaching the end off this full time lapse process. You've seen that other colors that were added, the shades, delights the reflections, and the last part was really to play with the liquefied tool to correct the shapes and the appearance off this drawing. 5. Finding References: we are about to start our project. And as any project before starting, you've got to prepare your references. You're very lucky, because I have created a photo show fire for you. It's a PSD file, so you can use it on procreate or photo shop. Um, and you see, they are tree layers off very different lives that you can use so into Holy F 18 models that you can use for some inspiration and decide to every lips a reference. I've just let an empty space where you'll be able to draw your own model. If you don't like mine, you can go on Pinterest and find yours. It's very simply just search for lips are you could use lips from view lips. I've you, uh, just makeup model, and I'm pretty sure you'll find something interesting to drop 6. Project Step 1: Basic Shapes: All right. So let's start this example. I suggest that you do it while I'm doing it as well. Are you after this photo show file where you can have all the references if you wish to draw the same lips are. If you don't want to draw the same lips, you can just learn the steps and then replicated with your own references. This is what we call drawing by observations. So I'm taking good models lips that unlike eso, it's much easier to draw things that you like and that you find beautiful. So this is why I suggest to you that you make your research before are drawing my observation is a great way to learn because you really after you make realizations why you're looking at something. So you look at the picture you see, like what are the shapes? Our water colors, What are the shades as well on and you learn as you do. So what do you see me doing right now? I'm using photo shop and I'm having a very normal brush, which is just a round brush with pressure rapacity that IHS said as well. And I'm replicating the shapes that I'm seeing Are you so profusely that all the lips can fit in some kind of her a square with a cross in the middle? So I'm obviously following the same structure for the lips. Um, but you know, like all hips are so different. So this is great to have models with a lot off different shapes of her mouth and lips. I've started by do corners. It's really important just to posicion de important feature of the mouth. And then I've bean starting by the center s. I've been the drawing a little space between the two lips, and then you can decide to just create a center line and follow it. And as you see, um, the first draw is not perfect, and it's normal. Um, I really see this step as sculpting like your kind off guessing where things should be, but sometimes depending off your to or you're not too good at up serving our surfers drop is not soaking on their way, you expect, and that's OK. So this is why I'm calling it sculpting. You can just rearrange lines he raised. Do them again until you're satisfied with the shape 7. Project Step 2: Base colors: So once all your contours are done, you can create a new layer on photo shop and position it just under your contour layer. Are we going to do the base colors? So for death, we're gonna use a solid colors and just get to never reach tone that is, representing the skin and another ever rage tone Ford Ellipse as well. This is the eyedropper tool, so I'm just speaking up different colors of the skin. Our second create my palate on the side. You don't want to find something to dark more too bright. It's really like a middle tone that you're searching for. I'm using a brush with a 100 person capacity. It's really just like the normal round brush. You see it too big and hanging off your brush listed photo shop and since is drawing is really just like part of her face. Well, I don't care too much about the contour of the colors. It's just we don't really care. Um, right now you see that, um, I'm using a smudge tool because I just want to make the transition between the skin and a lips a little smoother, and so it's not about detail ing. Yet it's really just about are creating contours that are not too solid. So it's more. It's more Smoot and I finished by raising my construction lines that I wouldn't need any. 8. Project Step 3: Global Shadows and Light: Okay, Now the fun begins. I'm we're gonna apply some shadings and details, and as you see, I will go with it. Curative rounds are the I D eyes Teoh make your drawing closer to the reality at every steps. But it's really hard to guess right there the first time, like the right amount of shading and a the exact color. So this is why we go in an interpretive process. So first thing I do, I'm starting with the shadows. I'm looking at my reference and you see that there are dark places close to the corner of the mouth just under it. Um, one side of the face is darker as the other as well. And just under the noses, Well, there's a little dark space. So, as you see, the shadings now are super super light. So we'll have to reinforce them later. Um, I'm using my old layer of counter, and I'm just changing the mode to multiply, and it's no merging very well with the new layer that we've created for the colors. The reason why I do that is because, um, when you apply the base colors, you want to do it on another layer, but it's great to keep the contrary. So you know where to trace. By the way the country were made with a brown line instead of the black line is gonna look you to merge the colors easier and off course. If you were drawing lips that are not brown, you would just choose another color for the comforters. Our once you're done with this shadings, you start going a little bit with the lights. This is why you chose a mid tome for the base colors in the solid colors, because you're adding shadings and you're adding lights. Then again, shootings again light in any thera tive manner, as I just said, and if you get there the right our proportions of shades and light area on your on, your drawing, I'm so we're getting closer to the end of the situation on the next one will start adding some details 9. Project Step 4: Round of detailing: at this stage to look of this mouth is quite resembling to the reference eso. I'm going to go with the details. If you were noticing that you're drawing is really far from the reference, I would suggest that you just take a little break and correct your mistakes right away. Otherwise, if you go herder in the process is going to be much harder to correct the mistakes later. So if you're appear right now with your shapes, contours, let's move on putting more details there. First thing I do is I really use smaller tips are off the brushes in order to create a better definition, I go with the darker places. First are because this is what we see from far something you can do when you watch drawing eyes too. Just step back from your computer and every look at the general aspect of the drawing are You could also just scroll down to reduce the size and make it to really small on your screen. So you after general impressions, once we are done with it, the middle line of the mouth, which is really dark In this case I'm going to start to you just I like to contours for this specific model. I really like your lips. You see that there's some kind off shiny elements on it, and it makes the come tour really distinct. And you really easy to drop, um, in order to do so well, im you see, I'm still using the same brush. I'm not overthinking trying fancy brushes, thinking any lot off different tools. I'm just using the basics here, and I'm just making the contour with a brush. It is not fully but as not a full capacity on dat is controlled with the pressure depending off your tool, you will have more or less reactivity. Um, from your brush, it's really for you to try. Andi is something you can just learn by trying. So I don't know who really haven't underlies Tiki. If you are about that, you just have to try it out. So we get closer to this first round of detail already. It's much more realistic. We see that the ingredients are getting much more interesting. You see very, very dark place, very bright places, and you start to see the details of the lips very clearly, we are starting another round off detailing. Um, there's some things I'd like to mention while we're doing this. Is that actually, I'm trying to keep the number of flares very small. You see that all this project is made on the one layer. Um, and this is important because it lows you to avoid to make your your drawing over complicated. It's just it should be simple at some point. So keeping only one layer to put everything on it. Um, it's a construct, but it's gonna learn you how to be efficient and how to draw a direct place. Basically, um, also. Well, right now, I think the time lapse is accelerated two times, which means that in total, to draw one reelect realistic mouth, it takes about an hour. I could do it faster with the more practice. And when you get really good at doing the same thing, you can do it faster as well. But when I wear is is okay time. It's not too long. It's good enough. But imagine that you want to draw face. If you take like one, Howard, for every feature, it's gonna be very long. Um, so this is why that that's important you need to get really good really fast and just understand where the colors go, where the shades where the lights go and one good way to do it is to keep the number off layers smaller. That's that's really going to make the difference in learning, I think in my up. So for this round of detailing, you see that I'm starting to draw some dexter on the lips. You see that there's always little lines that are crossing lips, and I've been using smaller tips and smaller brushes to draw them. And then I'm starting to get some texture around the mouth as well. Eso It's for the skin. So for that I'm using another brush. Because this brush is a lowing me to create a dexter. I think it's the skin Pore brush is basically just little black dots. And to create a good skin texture, I recommend to you that used this thing's brush could also use just a snow brush or anything that has a lot of little dust particles. You'll drop one round with very dark little particles and everyone with really bright particles. So it shows kind of the pores and kind of off the little hair that are covering our face and that are reflected in the lights 10. Project Step 5: Round of detailing 2: as you see me go for this round, I'm gonna give you some tips about on this iterative process. Um, is just really are getting good at up serving and getting your results faster. You see, like the first time you look at the drawing, you remark some things, then you try to replicate them, and then you compare and you realize it's not the same. So you have to observe further. I noticed some things and make some modifications as well. It's there's really, like, no way to get better. And this unless you just work it a lot of time and therefore it is drawing specifically, I think in total, I must have something like for 456 rounds of adding more shades, adding more lights, adding more details than a little more in another time. Okay, so it's really just you've got to do it until you're satisfied with surrendering. If you're drawing, I'm and it get faster with time. But shouldn't it? I feel that you should abandon your drawing at the first round because that's what most beginners artists do. They actually do a first draft and they look at it and off course It's far from the reference, which is normal because is there for his draft. So you just have to come to new adding details and things are going to be refined by themselves. Are one after the other, basically is just taking a sort of number off alterations. And as you get like more experience, you're more decisive with your colors. You go with more audacious, our colors mixing in their lines and counters, and it's just really like when you know what you do. It's going faster, but that's OK to take your time in the beginning. So just to conclude about this round, you see, I've been adding a little bit off pink on the lips, and I'm using another layer this time because I think eventually I want to use this layer in another blending mode. This is why I'm working on two layers at this stage of the painting. I believe, like the shapes and basic shadings are good, so I will not modify them too much off course. I will have some lighter shops to do NT end, but I'm ready to really go into the details. This is why I've zoomed a little bit in order to see a little bit better my drawing. And now I'm using a brush just to create little lines that are visible on the lips. Um, there First time I'm using the brush you see, do lines are quite hard, and once I'm done by tracing them and me using this much tube to make them smoother, Um, and since I'm working on another layer, I will be able to change the capacity of those little lines and merge dimwits on the base collar is that are under in the layer just under. You see me doing that. So I'm using to multiply because it's really going to show the places of the lips where delight doesn't reach. So it's like small rifts in the lips and everybody as them, and drawing them is making your drawing more realistic. So it's important to ask them, and you've got to find the right balance because if you draw too many of them, it's kind of too apparent, and it looks like it's a drawing. But if you don't draw them, it's just not. What I did here is that I've duplicated this layer, and then I'm actually using a Gaussian Blur Teoh um blurred Issa gone layer. So it's going to kind of create shadows around those little rift lines that I've just drum and then I'm reordering the layer and I'm changing a little bit. Capacity is just making, like the transition from the light Are places on the lips to dark places much smoother. So the last step now is just to add a little more dark lines here and there those little lines are going to alot you to show more clearly the treaty aspect of the lips eyes gonna help you to their for their rendering as well. I just to show that the lips are kind of bubbly or around S O. This is why it's also helping to add them. It helps the structure. If you're drawing 11. Project Step 6: Lights and Shades Touch-Ups: as we get closer to the end of our drawing. Well, you said that I'm adding Maurin more layers and the reason wise, because all the talk shops and all the final lightnings should be emerging a different way . So this is why I I'm doing them on another later I would consider right now that detailing is Deng, and what's left is basically the touch ups that are going to render the final driving in a realistic way. So here are beating, deciding to go to another round off skin pores. So I'm using this brush. You see, it's a very big brush that looks just like little dots here and there, and that's adding a little bit of flight here. In there. I'm using you see, like your grey or pale grey, and that is just showing that the skin, as some reflection you should. The reflections are always a lighter, but they are not always white or yellow. In this case, there are kind of bluish, great pale grey. I'm, and you can just play with that, too, see a different effect on the rendering of your drawing, going with lights and shades that are different. That just the black or white US is very interesting. We also have to add a little more arm reflection light here and there because we've been working a lot on the contours but and shades but the lights Generally, I keep them for the end for two reasons, and the 1st 1 is that, um, it's kind of easier to see where to go at d n. Um, and not on do your work while adding them. So this is why. And the second reason is because it's really satisfying because once they appear suddenly you're drawing ready gets are realistic touch. It's it's very sudden, Um, for those lights, well, I've been using a brush that was creating quite a flat line, and then I'm using another kind of the razor just to mask apart off those reflections. Because since the lips are textured, um, it's not a perfectly smooth and flat reflection. It's a reflection that sometimes is more intense, sometimes less appearance, so kind of deeming my reflection and lows me to create this effect. Ah, once I'm done, I'm gonna change their capacity. Of course, of this layer, it's really and one of the two you can play with when you're at the stage, you're just over imposing all the layers and playing with the blend mode, playing with the capacity until you find the right combination that are satisfies you and gets you. I deny, Say, Final Dutch you're looking for. We did the lighter touch ups earlier. Right now we are going with the darker touch ups. Um, I'm just kind of adding some lips freckles, if I can call them this way because you see that the color of the lips is not shooting firm neither. So this is why I'm adding this. I'm doing it again on another layer, and then I'll be able to change it Teoh overlay or another blending mold until I'm happy with it. Sometimes when you don't find a ride leading mold, you can use control you to change. Actually, D. U s. So it's going to change the color a little bit to saturation and you'll be able to find the adjustments you're looking for. And of course, that cnd capacity. So those are basically the tree tools to blend moldy capacity into you. That's we can play with it in order to get the results that you? I'd say I disappointed the drawing. We're really close to the end, so sometimes I'm trying things, but I'm not keeping them because I feel I'm not getting closer to the goal or better that before. So it's really like an experiment you just tried out. You see, if you like it if not control Z and you forget about it. Um, I'm I've been deciding to add a little more collars here because I feel the reference us a bit more pink in her lips. Eso I'm adding it a little bit, so I'm doing some kind of color corrections at this point. Another thing is that it's okay to take your distance from the reference the references there, basically, to make sure you have ah, human mouth. Okay, it shouldn't look like an alien or something else. So as long as you stick to the shapes on, that's a good thing, then you use the reference also to have an idea off where the light goes. It's really hard to figure out by yourself and to remember where it would hit just by knowing the shapes by heart. It's really hard, so I think they're friends and lows you to. I go faster and just applied a good lightning from the first shot, but you can make it a little different. I'm and decided it's not exactly as a reference. That's a goal off drawing, even know if it's a realistic drawing, you can take your distance, and by the way, as you see, like if you look from far, it looks like a riel, our mouth in real lips. But if you look from closer, you will see the pencil trips and lines and it extracted brushes, and that's OK. And I want them to stay there, actually, because if you remove it all, you will have a drawing that looks kind of computerized too much and people don't like it. It's not fun to watch is just too flat. It's too perfect or to smooth. So just let imperfections like to brush and professions. It's It gives your nice personal touch, and without it it would be really boring. I'm so to finish it is so around. Well, you see that been adding a little more light are specific. Specifically, between there little dark riffs we've painted before, just in order to replicate the lightning. Are we seeing the reference? And I'm playing with deplane. Mo's another time. It's a really, really repetitive process that you do over and over again until you're happy. 12. Project Step 7: Final Magic Touch: This is the last last round off that shops. I considered it drawing done or finished and what's left. Basically, it's pure pleasure or just going to reinforce the lights, reinforce the colors, add a little more texture. It's really like the final touch. Um is gonna enhance the drawing, not changed completely, but enhance it. Um, if you can at this stage do some cleaning off your layers merged, the ones can merge. Um, just organize them if you wish. You can name them when you work. I don't do that because I'm original. Uh, it's your way, But just make sure Teoh clean what you can at this stage. It's gonna also reduce the size of your finals. Why, If you want to export it, um, so what do you see me doing right now is really just to compare, uh, the reference and just make the transition smoother to have a nice final look. And what's left is a dodge to you. So me so like this thing that looks like a zoom, but it's actually a dodge tool, and you just have to choose a brush, and the brush is going to lighten our your collars on any layer that's your in and this is a ever a reversible, so it's not like a over imposed later, you do it directly on the layer, and you just make some little blobs off colors. Lighter is just a cut off burning toe towards a lighter color, and it gives a really, really nice touch. So what I do for that is that I choose generally brushes that are very textured because you don't want, like a big white blob off reflection. You want little blobs here and there. Once I used the color Dodge tool, I'm also going with another Dutch layer that is independent. And for that I'm using this brush, which looks like some kind off pain drop because I want to see the texture in the lips. Um, and I'm having some some trouble figure figuring it out. So you're seeing me playing with the par meters until I get the the exact thing that I want . Um, it's safe for you to explore your brushes and your jewels. Andi, this one was looking actually like paying drops. So you just splash them here and there, Um, where you'd like to have your reflections I'm correcting the places where there shouldn't be any. And once I will be done with it, I will change the most to a linear dodge or just touch and you see that it's transformed arctic pink of the lips and suddenly gave all this brightness and shiny nous to day said to destroying. So we really get the final look that catch the eyes. 13. Speed Painting Warm Up: 1-minute Lips : and this model is about speak, painting. What is speed painting? It's actually not a time lapse is just to have a good speed When you're painting, it's just getting faster and faster are when you do your paintings. And it's really important on the long term. If you want to improve its an artist because you don't form things to take for effort, it's okay to have fun and are be realized when you work. But you've got to be more efficient. If you want to be more professional, So do the challenge I'm giving you. Today is just to let's warm up by trying to draw the lips just a contours in one minute so I'll do six with you and this. By the way, this video is not accelerated, so it's the normal speed, and you should try to respect. The Spitzer will have one minute to draw different lips. Different models before starting. Just make sure you're selecting a normal brush. I'm using a round brush with some like a medium opacity, and I'm using a brown color because it's a it's the skin color that will merge easily if we want to work. And after after that with with your basic models that you just drop so forth. This lips were already at the signal lips. So it's from view after lips. And you see, I'm starting with the middle shapes to basic shapes that are into middle off the lips on this front view is quite symmetrical, so it's kind of easy to do. And you see, my lines are not. This is if that's not what I asked you to do. Just want to find a basic shape, and you're exploring your sculpting your drawing. So you're trying to, um, you're trying just to find is shapes and replicate them. Um, and it's sometimes hard to do it in just one pencil stroke. So this is why I'm doing little ones, Um, until I get to shape that I want and you're just trying to replicate what you see. So not too many details, just the basic shapes. So for those lips, for example, you have to seat you don't want to draw all of them just like, say, the separation, Uh, between the top one and the bottom one, their lips already. Okay, one minute started. Now, when the lips are not perfectly are recently aligned. I like to just draw the center line, which is going to tell me about it. D angle off the lips. Then I'm going with this space again. In between. Very important if needed. You can draw more construction line before starting to do the contours. It's gonna help you to make sure you're really replicating. Did geometrical shapes at the right place? Then you do to contours again. Um, and you'll correct a little bit. And I strongly suggest, if you're able to film you while you're drawing well, you'll see your mistakes later. Like right now, I'm commending this video, and I'm seeing all the things that I've done wrong. Eso is just for you to look afterwards at what you're you lefton. It's gonna hello you to identify mistakes and then be bater. Basically, for the next time. Let's start with the fourth model. This one is interesting because you see the middle line a super super dark and kind of straight, and you see all the variation off the lips. It's really interesting toe work with different models. You see that this mouth as a very thin top lip and a bottom lip that is much more pulpy and much larger. Like possibly like. The bottom lip is twice thicker than the top lip. So very interesting to remark that, and I don't know if is the lightning. But the space between lip is super, super dark. We don't see the feed of the model, so it's just a very dark fifth lips already, Um, it was on purpose. I've selected lives that are not exactly or isn't all because sometimes working an angle can mess up with your brain, but it's actually the same process if you wish you could just were the the picture. So it's in the horizontal orientation. But I think it's good to learn to draw in other angles because you realize that you've got to adopt, um, your orientation system to the drawing system, which is, um, it's, I don't know if you do it a couple of times, you'll see that things are working the same way, even though they are not or resemble, um, And what is interesting also is that if the lips are not position horizontally, well for once will have lights and reflection at different places because the normal lightning always come from the top, but in this case, it comes from lightest side of the month. Okay, last model. Another one minute started. This one is interesting because it's really like a profile view. And in my opinion, it's much ardor, dander from view, because it's not symmetrical and it's kind of a trap, and it's easy to get confused with the proportions. You see that for this one, I've started again with some kind of central line. I've decided to go with the upper lip completely and dandy. Bottom lip on. I'm putting them together. Azaz My drawing. This is progressing, you see also like the feet inside of their mouth. Well, because we are on the profile view, like the middle line in between the two, Dietz is not exactly align with the middle line off the lips, and that's normal because it's a perspective effect because our lips are into profile view or the tweet tree quarter few. So this is to be taken in account when you're dropped, so time is almost gone. I hope you did your six lips. Very good warm up eyes going to make you prepare for the next step 14. Speed Painting Case Study: 20-minute Full Lips: Let's be really for the speed drawing are you see? I'm doing to repetition off the same drawing for district Auriol. I wanted to show you that you've got to repeat if you want to get good eso I'm using the same steps as before. You know that profusely with just practiced to draw one minute lips, which is very good toe warm up and just to get away in there, make your brain like very awake as they are. You ready to do your drawing? And what is important with this speed painting is that you don't focus too much on the details. You just get concentrated on the basic impressions. You know that before, for the other lips model, it took me about an hour to create realistic lips. And now I'm anything for 20 minutes. So it's a big drop. Okay, it's It's more than a off off the time, so it's a big improvement if I'm able to do that. Eso You see that I've started with the contours, then based colors. You see that the base color of the those lips is a pale pink and individual. It's a very, um, almost fluorescent pink, so I've used that to create demand allies as well. I've used Teoh Smudge Tool to merge them a little bit, and now I'm enforcing the center line in black, and I'm putting a little bit off reflection here and there because I'm lacking of time. I'm unable to choose brushes and that are working properly, so that's a mistake that could be corrected by just preparing your brushes Before you do your speed painting, you make sure to have the brushes that you want that are ready so you won't search for the right brush. You already have it. And I knew that if I derive brushes, I I would have lost a less time and get a better result. So this first drawing is almost done. I'm completing the just a texture around the mouse to create the final aspect that looks more like the picture and immediately after. So I'm just leading of reading and I'm starting again, the same drawing and very important to do it two times because your brain is learning and to do the same thing. Basically, not to repeat the mistakes you could have. Maybe taking a little break just to analyze your result before you do your next drawing and media. The steps I'm following are the same again, but I expect that now that I have done it once, will I be able to replicate the steps in a better way? And it could be interesting to do maybe the same lips three or four days in a row to see the improvement over time. What's interesting for this Sigona iteration is that I'm not using the same brush that I did before, So I probably realized that my choices in the first iteration were not the best. So you can just make it work differently for disagree on the significance. Ation is low. I was also interesting is that I'm not noticing better, better efficiency for this signature aeration. Not right now, probably because I need some time to process what I've learned and get better at it. I You'll er you'll be able to compare the two drawings at the end, and you'll see that and you'll see the second try is a little bit better, but that probably Ritter trial without being are much better, especially if it's done. And the day after, it's just bringing some time to you to process information needed. The last thing I want to say is that even though I'm using exactly the same model, you'll see that both throwing end up being a little bit different. And that's really interesting because you see that even though you're starting from the same thing, you get different and results. So your interpretation or your way to recognize the shape and represent them is always a little different from time to time. Time to compare. So you see, this is the first trial to Saigon trialling and you have your friends here. So I just encourage you to take a little balls and observe the difference and see what you can expect from different trials and around the figuration to get better at speed painting . 15. Conclusive Note: Congratulations, guys. You've done it. Please. Supposed to project. I'll be for interested to see how a twin for you Before you leave, please make sure to follow my skill ship age. I look at my other social media account and also like to invite you to follow my other courses on skill share. So have a look and a phone waits All that is available to you. See you soon. 16. Featured Class: Watercolor Portraits: Hi, everyone. I'm if it be today, I'm gonna teach you how to draw beautiful pretty faces like those in the first part of the class. You will learn how to sketch of face position the facial features into a good Leinart. In the second face, you're gonna see how to color your portraits using watercolor they're not really gonna need for discourse is watercolor paper path. Make sure that your paper is really ticked, so won't become wavy when you put water on it. Some men's ills for sure to do your draft in any razor, then fans markers to do. Did Leinart make sure top different thickness. You will also need larger markers to due to shading. The difference is that those markers have really take brushes. Make sure to have a variant your tone to facilitate your shading. For the next part, you lied watercolor kit with different those that you can have a nice pellets to afford to do too much mixing. Make sure to also ask some brushes off different sizes. So before we get going, make sure to follow all my social pages and then