Ultimate Masterclass of Realstic Portrait Drawing & Shading from basics to advance | H Rafiei & Mariya Karim | Skillshare

Ultimate Masterclass of Realstic Portrait Drawing & Shading from basics to advance

H Rafiei & Mariya Karim

Ultimate Masterclass of Realstic Portrait Drawing & Shading from basics to advance

H Rafiei & Mariya Karim

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31 Lessons (12h 22m)
    • 1. Promotion

      2:26
    • 2. Introducing the tools needed for hyperreal sketching

      44:48
    • 3. Transferring the outline on paper with the checkerboard method

      21:21
    • 4. Step-by-step foundation for right eye and eyebrow

      23:17
    • 5. Continue right eye and eyebrow foundation

      23:09
    • 6. Left eye foundation tutorial

      26:41
    • 7. Foundation of the left eye and eyebrow

      13:02
    • 8. Begin the step by step nasal foundation

      29:53
    • 9. Completion of nasal foundation

      29:12
    • 10. Step-by-step tutorial of lip foundation

      30:20
    • 11. Complete lip foundation

      36:32
    • 12. Begin the tutorial of the fingerfoundation

      32:41
    • 13. Completing the foundation of the fingers

      33:46
    • 14. Shading around the fingers

      21:20
    • 15. Forehead foundation

      26:19
    • 16. Working on hair and ears

      24:17
    • 17. How to shade the face foundation

      38:46
    • 18. Continuation of foundation of face and shading of the second ear

      21:36
    • 19. Shading the foundation of the other side of the face

      30:04
    • 20. Shading the chin and neck foundation

      23:34
    • 21. Start the construction phase. Eyebrow detailing

      20:07
    • 22. The process of completing the right eye

      28:12
    • 23. Detailing and completing the left eyebrow and starting the left eye

      33:39
    • 24. Completing the process on the left eye

      8:54
    • 25. Forehead, hair and nose detailing

      24:16
    • 26. Detailing teeth, nails and lips

      29:25
    • 27. Complete lip, chin and neck detailing

      19:16
    • 28. Add details to some components of the face

      5:43
    • 29. Start working on the fingers

      19:31
    • 30. Completing the fingers

      16:58
    • 31. Take off the tapes around the frame and unveil the beautiful hyper-real effect

      2:43
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About This Class

Welcome to "Ultimate Masterclass of Realstic Portrait Drawing & Shading" course . this course will teach you how you can create hyper-real portraits so easily from basics. this tutorial will help you a lot in learning this style of painting with a very simple and basic figure of speech. This course does not need any pre-knowledge and even if you have just a little interest, with the help of this course you can easily create hyper-real sketches and drawings. Because we have tried to teach you all phases and steps completely step by step. And now what is hyper-real drawing?

Hyper-real is a form of painting and sculpting. The result of this form of art looks like a picture or photo with a very high quality and resolution. Hyper-realism is seen as a breakthrough in photo realism using methods to create paintings.

The way of applying details in hyper-real form

Hyper-real paintings and sculptures create a tangible physical strength and presence through subtle lighting and shadow effects. Shapes, forms, and areas close to the forehead of the image appear visually beyond the front of the canvas. Many paintings are made using acrylic, oil, charcoal or a combination of them using a hair brush.

Usage of hyper-real style in chiaroscuro painting

Hyper-real style is used in chiaroscuro painting using high quality images as a model. Chiaroscuro painters try to use all the details in the model photo in the work, using the tools needed in this technique. The result is acceptable to the artists when there is just the slightest difference between a photograph and a chiaroscuro. By comparing the model with the final sketch, you will realize how accurate the work is and without the slightest difference from the model.

So it is better not to waste time and become a skilled painter right now with the help of this course.

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Transcripts

1. Promotion: Welcome to my tutorial course. In this course, we move toward creating an art masterpiece step-by-step from the basics. At first we introduce require tools and our US. Then we will learn how to create a general primary, a sketch of the model on the cardboard With check technique. We start the foundation phase with brushes and pencil powder will start with the foundation of eyes and eyebrows. Will learn shading circulatory with brush. Then we work on the nose and also the foundation of the lips, fingers, chin, neck, whole face. After that, we entered the construction phase in which we learn how to apply the necessary details like eyelashes and eyebrows, hair. So we can achieve a hyperreal a sketch with the minimum difference between the model and our work. For example, we use different types of erasers to create delights on different parts of the model naturally on our work in here. But comparing the two eyes, you can see the difference between a foundation and construction phase. We will learn where, when, and how to use a tool. And with the help of our tools, we create the texture on the skin of the face and fingers so naturally. And at last we illustrate the final results and we enjoy comparing it to mother as we see no difference. So start learning hyperreal is sketching with this scores right now and enjoy. 2. Introducing the tools needed for hyperreal sketching: To all my students, here are the tools that we need for our work. We can use so many different tools for Kiara screw technique. But the tools that I want to work with in this session, I'm just going to tell you about we have this mako brushes in 30, 50, and 80 sizes. See they're in different sizes. Then we have these brushes. Again in different size. The 1100 to 1111 series and 2125 series. I want to use them all in my work. But even if you don't have any brush, you can use cosmetic brushes or you can use cut in or wet paper tissue. Both for that, I'm going to use my brushes. We need a fader, Adelphi eraser. We need some coal powder or our cones pencil powder, so that we can deep dive brushes and bring it to our work. We need eraser, a cutter. And electronic eraser. Definitely need discipline and hard fabric, castle count pencil and paper tape for F, we're framework for the frame of our work and the Fabriano 220 grams cardboard. And we will use the smooth surface of it, not domain with the texture. So these are the tools that we need for our work. And this is a sanding that is being used for sharpening our eraser and also cleaning it. So like this, just drag the tip of our eraser on it and it would be clean and sharp. Alright. This is a sketch. This is actually to photographed and I've printed and I want to work on it. And I want to sketch this one for you, this model for you. Red checkers method. And a size of checkers. It depends on your own ability and on your own taste. You want to. Create big ones or small ones. For this work. I'm going to create them three centimeters in three centimeters. Also from this side to go forward three by three. And then again from this side we will do the same. So our work would be completely precise. Also the lower part, the derived their left diopside and now it's turned for doing it on the bottom of our work. So all of our lives would be straight and precise. Now, I just connect these measurements and I just connect these two dots together and connect them straight Lee. And even again, I say if you like, you can consider these measurements more than this or smaller than this. It depends on you. If it would be smaller, it can be more helpful for you if it's your first time. So you can do the measurements better. But after that, you've done it several times. You can use vaguer checkers or you can even not to use them. And just create your sketch only by looking at it. Which needs a large amount of practice. Saying, we should have equal squares. Okay? So we have created these squares here completely. Come back and take a paper at the same size. And we transfer the checkers and the squares and the other paper. And comparing to our photo, we will transfer our sketch from our picture to our paper because we are working with Kiara screw. If I want to create these lines on my paper, my work might get a sustained. And even if I try to erase all of these squares completely, might not get that neat and clean. So first I'm just going to do these checkers on a paper and then I will tell you, add Dan, that how you can transfer these to our cardboard. So you see, I did the exact same thing on my paper as I did on my picture. So you should just bring gifts unto your paper. Then we'll match you see, we can count the squares. And then I'll match these to my paper. So I would not misplace anything. So I want a square into a square and three score. So in the third is square and say it's exactly on the square. This is the eyebrows line. You see if it's here. You can consider it in on your paper. In this area. You don't have to create the hair on the eyebrow yet. You just need to determine the placement of the eyebrows. And this is stage and a CMS exactly down to hear. No more than this. So this is our main work on the cardboard. This is not the worked out we want to shade. So feel free even if you make some mistakes. And it's from here up to here. You can just easily determined a placements. You see. If you consider the corner of this area, then we come here. You go up and determine these spaces. You see here and here are empty. So I just created it in between. And again, I say a few thought, I you cannot do it perfectly. I can not even go to the hair on the eyebrow. You can just determine its placement. I'll work on it so you would know better. It's almost around here. Okay. So this is her eyebrow. It was very easy done the careful when you are putting the paper on your work, the lines of the squares just go exactly on top of each other so you would not misplace anything. Now for its eye, we consider this, this sense. And in here, from here, we can start. Our eye. And a corner of the eye is c. Two here. This would be the coroner. According to the squared and I've considered for my eyebrow. Then again another line. Then this around at part over here. It came just a little down to the neck. So square. Now here we consider this line. And we create our pupil and iris can determine this a light in the middle of the eye. Just like this, we go around. We create the eye. So again, I say first you come on a paper, you create your sketches, read a squares. And if you had even been mistaken in some parts, you can erase them easily saw. In this way, it would be on the paper and cardboard will not actually even be messy or dirty. You see, you should compare. The squares of on your picture with the squares on your paper. That is how you can get precise measurements. And the shape of the eye lashes. Just getting a general shape out of them. Of course days parts would be dark and daring our shadings. So doesn't matter that much, but we're just going to try and create lines like this so we can show that these parts are the placement of the eyelashes. It's neither. The eyelid will be dark and you save from here I can see it's the start of day eyelid or the end of it. It's fair to say. Okay, so we are almost done with this. I just The adding some of these wrinkles below the eye. This is actually shading that I'm creating it with lines now. So when you want to work this on your card bird, it should be very, very light at the beginning. I'm just determining the placement of our shadings. The part which are dark, that part which has a specific lines in them. And also you can show that these parts are darker. You can show them later in your cardboard. So later on you can add the details on your cardboard. You don't need to create them right now. All right. So consider this line and this is square. Again, I say we're just determining the placements. Face compartments. Okay, Now I should consider these nostrils. If we count we have 123456. And from this side 1, 2, 3, 4, 5. So 1, 2, 3, 4 and 5 and 5 down. And on the sixth, we want to start to create the nose and the nostrils first, ongoing good the nostril. You see I should come down a little, go up, have the curve. And it's almost here. They have the nostril almost in here. It has a little curve at that. And this middle it is starts from here. Comes down like this. I'm just doing good a bit fast, but when you want to do it, you should go slower and with more cautious. And it's better if you create this shadow we have here next to the nose. So again, I say, you can create it more carefully, more precise, and more slowly with much more patients. I'm just doing it a bit faster because I just want to teach you how to do it. I want to save some time in the video so I can teach you more. Well, again, these lines for the nose should be very, very light when we are doing good on our cardboard because we should actually create them with our brushes. And you don't see any specific lines. And the nose it on the nose LA area. So you see here we have another nostril. You can just consider it like this. It's almost in the middle. And all of these would be created with our shadings in our cardboard. We're just determining the placements very lightly so we would not lose them actually. And then you compare it to the corner of the eye. And we have some very, very light, darkness here. We shouldn't create any lines like this on our cardboard again, I say we just determined the placements. Okay, Now the other eye, again, we match the lines together. Now we can consider it from here. We have this on a scar. Same farm here. I served my eye and I go to the end of it. Say it's almost from here. I count one down. And the second is to create the lentil. From here. It can definitely erase anything extra. This is her eye line which goes to the eyelashes. We have the light on the I just created here from here and comes down the lower eyelid. And of course these are wrinkles very, very lightly. We allow DI you see from here on it's very dark, so it doesn't matter that much. Then the eyelashes would be created in our original work. You see from the first, second a square. We'll start for the hair. And then the third day hair, hair lines comes down to the fader. But still I need to create a placement for that. Now, didn't mouth and fingers and reconsider it here. Let's see. So this is x. This is x. Yes. Yes. Yes. Yes. Yes. Yes. Yes. This is this is so this is the first time. 3. Transferring the outline on paper with the checkerboard method: Create these lines of the finger. The finger is touching the lip. Come down. In like this would create finger. Again, I say we just create these wrinkles. Fingers, knuckles. So we would not Mr. places were just grade them very, very light. Okay. So so yeah. Certainly. Okay. Now from here almost come up and then erase the extra lines. Okay. Now in here, I start from this part of the lip. The lower lip just came and little. And you see this is the shadow and this is the lip. Now first I'm creating this shadow. Again. Next to it. I go for the actual line of the lower lip. Okay. The teeth for the lower part. That's exactly why TO do not to do it first on your cardboard. So if you have made a mistake, you can easily erase it on your paper. Because our work is in Kiara screw technique and we shouldn't use any eraser at the primary is sketched that we're creating. So then we will, when we shade it, work looks messy and dirty. So that's why we created the primary sketch on paper first. Wrinkles on the lip. Just create their placement for not missing them on our actual work. And also in here, there are some shavings that needs to be done. Okay? And of course, we have the tongue here. Daniel created an actual word in here. These part would be completely dark. Recreate the tongue with the shadings. So you see, just now we create a generalist sketching without the details. And then you will erase all of these lines, checkers lines. You should erase them completely. So only our sketch will be left. Now, we can transfer it into our cardboard. We have different methods for this transfer. I explain one of them to you. The easiest way is that you get a graphite pencil. Because we want to do it on a cardboard. Airlines should not be dark at all. We just wanted a very, very light line on our cardboard so we would not displace anything. So after you've erased all of these squares, this is sketched that you've created yourself. You would just put it on a window which has light coming in it. It should not have any fingerprints on your cardboard. Because even sometimes you would not even notice the fingerprints on the Card bird, but when you do the shadings, it would be obvious. So you get the cardboard, you get the paper from the sides, and cardboard from the sides. And then you put the cardboard on the paper that you've already put in front of a window which has some light coming through it. Then you go over the lines on your cardboards, you see you did not do any shadings here. Just determined our placements of the each compartment. That will be it. Okay. There's more explanation left for this part. So this was our primary sketch. 4. Step-by-step foundation for right eye and eyebrow: Okay, So after that, we've transferred our sketch to our cardboard. We will make a frame with our paper tape all around our work so we can make it more neat. Now, I start from the eyes. I'm using a hard pencil, as I've told you in the introduction of the tools. And you should definitely, definitely put a paper underneath your hand. So when you're working on one part, the other parts won't get affected. First, I start with the pupil. You see, first, I will work on this area inside of the pupil. And you can also use your fader and your brush to first work around it and then go inside of it. But because I want to work fast here, I'm going to use my pencil. Now. I will use this brush and I fade inside of it. We should blow off the extra powder from our work. We would never, ever take a drag our hand on our work and be careful when you want to use your brush on your work first, you should take some extra powder off it on another paper. Should hit another paper with it first and then you should bring it to your original work. Now, exactly like this, we go over to parse that we've already determined. And we do nose go over the parse ridge, have light. We don't go in them. In this part because it's too dark. I direct slowly bringing my brush and my powder in here. But if it wasn't too dark, first you should put your brush and another paper so you can take the extra powder and then you should bring it into your work. Because these areas are dark. I'm going to shade here like this. I'm using some circularity hand movements at the corners. Now, I use a little of my pencil here because it's too dark. But if you want to do something which in some part which is lighter, you should do it with your brush. But because this area was too dark, I could use my pencil on it. Now I'll drag my brush on it so I can easily fade it. Now with the same brush, we don't take any extra powder on it. With the same brush. We just drag these lines out of the iris to the rest of the pupil. Except for the part which has light in it. Do not go over that part at all. And now with this brush again, I don't take any more powder on it. From here, I come toward inside with circularity movements like this. So I am coming from the edges to our Dan side and I do not take any powder on my brush. I'm using the powder which already exist on my work. So I would definitely blow off the extra powder from our work. And for these upper part, which you can see it's darker. I start from here. Sarah, calorie hand movements. I come down just to make it as dark as I can see it. This part, I shade this part a bit more and just drag my brush over here. Okay. Then we are going to work on the eye lids lines. All right. Now, which is beneath the eyelashes, we have a strong shadow. So we're going to use this brush. And from here, we come down because it's completely dark. Now, again, we come here. We just go over the lines that we've already created in our primary sketch. So when we are shading, we would not lose these lines. Now, we're going to use our fader and work on this corner of the eye. First, who will test it on a paper and then we'll work with it on our cardboard. And from here with this brush you see I'm just tapping and I'm coming down with taps. I'm not dragging my brush. So I can get the shading of this area correctly. In this area we have some darkness going upward. Now we are going to complete this line. And because it's too dark, we can even use our pencil for here. An h bar Dan, do you do you should blow off the extra powder from your work. Then again, I go over my brush so I can faded more. Okay, now, I'm going to use the same brush and just determine the eyelashes. I want to create some lines with my brush like this. You see, I'm using the same darkness that I have here. Because if I want to create the eyelash completely, again, we will have to have a darkness on it again. Other shadings it would fade in, fade out. So for now, I'm just going to create it like this. And at last again, I go over them with my pencil. And also in the corner of the eye in here. It just tapping my brush and create a little shading. Also, this area is a bit darker. So I go over my brush. Okay. I did not take any more powder. I taste it. I tested on my paper. You see, of course this part is light, but it should get a little shade. You see, we do not get any Chapin are on our brush. Just very slowly. We use the powder which is already on our work. And we'd say Clery hand movements. We create some shading. Too much, just a little is enough. Then I would want to work on this upper line of the upper eyelid. You see the shading that you see here. It should go up like this. And again, and of course, adding a little bit shadings to here. You do not get any extra powder on our brush yet. We use the powder on our work toward up and with circular movements. And always for darkening the very dark parts, we will use a smaller brushes. And for fading, I choose a bigger brush for the bigger parts with bigger brushes for the smaller part. Smaller brushes. And even for darkening, I use a smaller brushes. You see these bars which are light. I do not shape them too much because later I should use my eraser on it. Now we are just doing a background shading. We keep the light parts like and then later after I've done all of my work, I go to the details and I add some touch ups and my work is done. 5. Continue right eye and eyebrow foundation: Now I will work on this area. Smaller bash, the part in the bank. So in circular movement, I will darken this area. And now again, I come back in here. I just make this darker. That's why I said we do not create the eyelashes right now here because as I'm doing the shadings, day would be darker and they will actually get faded. Now, we choose a bigger brush. We do not take any extra powder on it. And up. We fade this. Okay, it's enough up to now. Now we want to work on the eyelashes with our brush, Just want to make them more clear. I mean, their placement actually, I'm just going to determine their placement more clearly, so I would not lose them during my shadings. The extra powder very slowly. So it would not affect any other parts. When you want to go up, maybe she just throw up your hands on the eyelashes. In details, I will tell you the necessary explanations. I do not work on the eyelashes into detailing phase. I create them with my pencil in here. Just like this. Up to now to here. Okay. Now, again, I do not take any more powder and just use the ones that I don't want to do. And I just want to shade this area and little bit more. And we keep the light parts light because the shading is coming toward inside. I trying to do. I come toward insight with tapping my brush and dragging it just a little. Now, we take the red circle. Movements, may go to art upside. Again, we'll work on these areas. And again, tapping my gosh, I come down and I take a smaller brush because I have a smaller area here and it's darker. Again, I change my brush, I take a bigger one. And I drag this down. Okay. Now again, I take a bigger brush and I drag these up rod. We did not take any extra powder. We just use darkness and powder that we already have in our work because we just want to thank this area known to add any more color. Okay? And we do the same for these lines. And then I just fade between them with my brush. So we'll make them better. More similar to our picture. So do not worry about it right now. This is an area that it connects to the no, Zoe. I have very, very low hand pressure and I start from here and I do not put my brush. Powder. I just use the ones that I have on my paper. I see. Okay, If they light pressure, I created that. But in this, in these areas, because it's very, very light, we denote take so much darkness, which is drag these shadings to our delight with circular hand movement and trying to hand off the cardboard at the end. And also from these parts come to take my paper a little bit. So I would not take any mass and my work now, right now because we just want to do a foundation and a background to work with my pencil. I'm just creating the eyebrow hairs. Read my brush. And of course, the pattern that you take on your brush first you test it on another paper, and Daniel, bring it into your work. Into detailing phase, I will use my pencil so we can create the main and original hair on our work. If I want to use my pencil right now, in mod, get faded away or in my mess up my work. So right now I just worked with my brush. So you should come away with a little bit more. And when we are doing this spontaneously just creates a shadings for us. So the foundation and a background around work would be dark. And just like this. Also the hair are appearing. Now I will use my brush. I use in darkness. Then it has on itself. And create a foundation and a background. And you see they are so line there, definitely having a very thin layer of shading, but it's very, very light. In these areas. My hand pressure is very, very low and just want a trace of color here. And of course I'm using circularity, hand movements and small trace here. And we should take another bit more darkness. And this is a even darker, so we will darken it and then rule faded. Okay. Up to here is the foundation. I and I will walk on the prize and we do the details. 6. Left eye foundation tutorial: All right, now we want to work on the second I as the same way as we did for the first I. First we start with the pupil and the iris. Use our pencil. We feel inside of it. You can also use your brush and your fader, put them in the powder and then bring it to your work and do this. It's not an obligation that you should do it only your count pencil. Now you can do it, it anything you want. And then we will fade inside of it with brush. And of course we will save this light part. They do not go in there. Okay, now with another brush, I try to drag these shadings and out of my iris. And then we add another branch. Say I cut the tip of this brush. So the tip would be flat bed prof. And I'm going to use it in here. And can use our pencil. And now again with this brush, okay. Now I do not take any more darkness. And then I'll use my circularity movements in here. We said we do not take any extra darkness. Darkness that we already have in our work. We just dragged them toward n side and we create this shading. Again, we can see that this area is darker. And then again, the brush, as I told you, we'd go over these parts. From the darker side we have in this area. We come to our h1 inside. Again, darkness and little bit in here. And before any phase we test our brush on another paper. I'm telling you again. And now we will go on these parts with our brushes. We create the lines with a brush which has a soft tip. Exactly like the other. I would just determine the placement of our eyelashes. More darkness here to bring it down for the eyelashes. Hi, this is very well. They are going to shape this area apart. Just like this. It would be more comfortable for you if you rotate your hand or your work. But I'm not just doing a dry down, so you can see better in the video. So as far as we can see, the shading in here is going to our date up part of the eyelid to our eyebrow. You can even say. Then I take another branch and very, very slowly shade these areas and I just fade them toward down. Take a bigger brush. And just thank this. We go over here. Then again, we'll use our brush with circularity movements toward, upward. And then I take omega Raj. I do not take any powder on my brush. I just drag this darkness. Then again, you take some darkness and fade this area as well. Now these areas are very dark. We are just working on the foundation right now. Now again, I take some more darkness and from this side we can see it's darker. I start my shading and I go upward. Alright. Now I come back and I work on this area here. So here we had a lot of shading over do it. Please be careful. You can clearly see that by comparing your work to the picture you have in front of you. And in this corner of the outer corner, corner of the eye, we need more darkness. Now at this brash, I come from this part turn inside of the eye. And now they're lined. Again. From here. Some of these shapes. Choose a bigger brush. Hello. And we go over these parts. 7. Foundation of the left eye and eyebrow: Now we will use our fader here. This area also will be darker. Now in here, we add the band, more darkness and more shadings. Okay? Now again, I test my brush on a paper first. So and I want to create this line which is relating to the Now's, not get it too dark. Well create these shadings or spatter them over days area. And again, I say for creating line for the nose, you should use a very, very low hand pressure and you should get it too dark. Yeah. Just as battering these shadings upward, spread them out a bit of powder and I go over these parts again. I work on my eyelashes with my brush just to keep their placement so I would not lose them. And then later again I say in detailing phase, we will go over there with our con pencil. And I'll explain each part. Do not worry about it right now. Now in here, I should drag this shading toward this area, toward this side. I will use my pencil on these line just a little bit, not too much. Just a little in the parse that you think it is necessary. And of course, I go over it with my brush so I can fade it. I can make it cohesive to my work. And I come out of the cell. So I can create a shading here. Exactly like what we did for our previous eyebrow. We will use airbrush and we create a foundation for our eyebrow. Okay. Just go in between the hair and at the top of it, at the bottom of it. This would be the background and the foundation of our eye brown. And later on we will go over it again. The more shadings we use our pencil on it to create the hair one by one. I mean separately. And then we'll use our brush again. Just spatter some shadings on it. And we complete our foundation like this, keep it up to this level. So in detailing phase, we can come late and more. 8. Begin the step by step nasal foundation: Okay. Everyone, after we worked on the eyes, the eyes are not complete. We just did the foundation and a background for them. Then we are going to work on the foundation of the nose, which is a small brush with the tip like this. If it's a soft tip, sorry. First we will determined the dark parts and the nostrils. We will make these parts completely dark. Already determined. Just go. Add more darkness said K. Now we choose another brush like this, which has a very flat and rough brush. I caught the tip of it so it got fam flat. Now, I will add to the darkness of this area with circularity movements. When ever I say you use circular movements is exactly like what I'm doing right now. We keep the brush in our hand completely vertical on the cardboard. And then we use circle area movements. And from darkness we come to the light. I caught the tip of this brush, so it would be very, very rough and hard. Now for creating the darkness, we use the smaller brushes you can also, as I said, and the tools, you can use cosmetic brushes as well. Then again, I take the other brush, which has a tip length is, and I continue down here. Again. I say, when you want to add more darkness, you use the other brush, which has a flat and rough tip. Then we will use a bigger brush. And circular movements. I came from, I come from the dark parts to delight lidar parts. So with the same brush, I do not do suddenly get all the parts dark. Just the upper part is darker and then it gets a little bit lighter. Maybe individually that you are looking at. I know it gets so die. But if you have it in front of you, if you have your picture in front of you, you can see that the upper part is way more darker and it's kinda blank and it comes down, when it comes to this side, it gets a bit lighter. And it's clear that if you want to create a shadings and comparing to your print, printed model or your phone. You should go on with one of them. I just use the printed picture for my sketching. But even then, at the same time, I was looking at my phone too. So when you want to start your work, you should choose. You can use your printed picture as your model from the beginning to the end. Or you can use your picture in your phone. As your model from the beginning to the end. Just stick with one of them. We have to extra powder from our work. Then I will move on to the next part. The next nostril. You just follow the par said you've already determined on your primary sketch. So NADH, lose or misplace anything. Then I will use a softer brush which has a table like this. First we start determining the whole area. Okay. Our rough brush, more darkness with circular movements. We just dark and inside of it. Now again, we get a bigger brush. Like this. Become from the dark side to side. Red circle ARE hand movements. We go down and we blow off the extra powder from our work. And in here, we come down to this part. Okay? Now you see these edges. The edges of the nose. Now we want to create the shape of them. We did brush that I'm holding right now. We go over the parts that we've determined on our primary sketch. It a very, very low hand pressure will just go on these parts very, very slowly. Just determine these parts very slowly. I have a very, very low pressure because we don't want any lines, a specific lines on our nose. We just have to create the nose with the shapes more than lines. You see this area which is dark. I will add the darkness from this side and then I come towards the outside. Means I didn't go into the nose from this line. So first thing, I determine a bit of darkness here. I place a bit darkness here so I would not get. Too much darkness, my work messy. And then I will just drag this darkness toward outside so I can create that shadow of the nose and that dark area next to it. So we keep it up to this amount. And then I would not take so much darkness. I just tested on the paper first, then I bring it into my work. Alright, now we need to darken this area. Be careful that your hand would not slip. And you do not go into your work. Generally in Keras crew technique, being careful and precise is very, very important. You should have Samaj cautious. We need a little dark that we created. It's not completely visible in the video for you. Just add a little darkness over here. There is a very, very small distance between these two parts. As you can see. It's very small and sad too much. All right. Now we didn't know to add so much darkness and just test our brush it first so you can see there's not more powder on it. I emphasize that my hand pressure is very, very low. Now, I just want to create the shape of the nose in here. I'm using a bigger brush. Even it gets even bigger later, but now I'm using this big brush. So with a very, very low hand pressure with circularity movements, I come down, I do is create the shape of the nose in this area. Okay, Now I will use an even bigger brush. A little bigger. For the nose, we should definitely use big brush. First we use a smaller brush and then because we want to get the general shape of the nose, we use a big brush like this. And we start shading this area again with low hand pressure and again with circular movements. First we start shading lightly. And later if the felt like some places need more shadings or more color or more darkness. We would go over them again. You see right now I'm creating this shadings in this area. And nose bridge. Again, I say with circulatory movement of your hand. Also it's the same for the other side. From here, we shade towards the inside of the nose. You see, I haven't used so much darkness here. First I tested on another paper and then I brought it into my work. 9. Completion of nasal foundation: We keep the shadings up to the shadings at the tip of the nose. And then again we take a big brush and we go, Oh my. And then family inspires I denote take a C here. I do not take any more extra powder and just use the darkness that out. Trace this darkness I come out. Areas are dark. In this direction. Dag mass will test paper and then just be careful. Yes, too much darkness. And we just determined the placement of darkness. Of course, these areas would be darker later, but right now we're just creating a foundation and a background from work. So we just determined the place man's giving the background a bit of color. And detailing phase would definitely go over these parts again and we add to the darkness of the price, set it. So now let's stay, right. We do not want any white spots. Are shadings. Of course, we should feed this area more. K and keep it like this for now. We give for any either side of the nose. First to start with this bash. Because these lines inside of the nose, that's why I'm shading in this direction. Pressure my darlings do not forget that. Faced made as small brush and create these shadings. Pressure. I pick a brush and my hand pressure is low. So in this area, size, we need to get darker. That's exactly what we're doing right now. Then we tried to keep the main light pipes light things, be careful so you would not go into them. So my right would not get messy or I would not get darkness into price. I don't want them. Then again, I choose a big backlash. Toward here. Shade this area, say just faded so we can create a circle in here. First, we test it on our paper so we would not get too much darkness on it. Let's see. And these Pi's are dark. Shades. It slightly bigger. Bash this. And be careful we're not creating any lines. Just moving. I took a big shaming this area. Especially I go darker. Mash. So testlet, if you have too much cash and make it messy. 10. Step-by-step tutorial of lip foundation: After dad we've worked on the nose, we will start with the upper lip. Okay. I still have to pay per underneath my hand so I would not get my work messy. So I get my brush and I go around dead lip. My hand pressure is very, very low. We determine these parts. And then we apply these shadings. Then we will work on this part. Still I have a low pressure, very, very low. But we're just going to work on here with tapping. Determine the placement of the shadings. So later, we will use our bigger brushes to create the shading in this area. Because right now we do not want to lose the lip line. You just go around it like this. Tapping the brush. Be careful that you would not make any extra lines. You just want to get a trace of the lip line and then we will go over it with a bigger brush and we complete our shadings. Then we will work on these parts. Also we go around the teeth. So our lines in here should be a little bit darker. So when later we bring the shading on it, we would not lose these lines. Then we come to these spots which we can see a darker line. He came here and determine their placement. The wrinkles on dilemma. First, we will do them lightly and then we'll work on them more. And lines and little wrinkles that we do that into detailing phase why we are working with the eraser. Okay, We do not take to Launchpad there on our work, on our brush. And we'd definitely tested on another paper first. Then with a brush which has a tip like this, we will go over these parts and we started our shading. And again with circularity movements. First we work lightly and then we get a darker. All right? This part is dark. So first, I will work on this part here. First with a smaller brush and also a soft airbrush. Until we get to these parts which are not that dark like this. I'm just determining the darker parts of my lip. Now at this same barrage, first, I test on my, I tested on my paper. Then I bring it to my work and I start shading here. Again, as you can see. My hand is circularity. As you can see, you can use your cosmetic brushes. When you're searching your tools. In some places. We blow off to extra powder from our work. And we come back to here, which is definitely darker, determined. And again, we use a big brush. And we spatter and spread these shadings with the circularity movements. So we continue this work. Become from the edges towards the inside of the lip. And we will have our shading. Because after the shading, these lines will get faded. Again, I should come back and work on the lines and determine their placements so they would not get faded away and we would not miss them after we're done shading. Don't want to miss their placement. So if you have the original file of the photo, when you look at it, you can see that there are some darkness in here. Maybe these parts are very dark in the picture. But still it is wrinkles. We have some darker parts and some lighter parts. I drag my shadings are poured. It should be darker. Okay, for more darkness. Start from here. Just like this, we go up foreign. Because we shade on top of them. So you should come back and work on them again. Okay. I will take a brush and I start shading layer. And again, as you can see, I'm using circularity movements. Just like this. We come toward inside. This part is darker at the corner. So work on that too. Then with this brush work and this area and we go up weren't just wanted to spread the shading. And remember that always for creating the darkness, we use a smaller brushes and for spreading them and a spattering them. We use bigger rushes, of course, depending on the area that we want to work on. Do not forget that either. So we go up. Then again with a bigger brash. From the darkness, we go to the parts which are lighter. You know, you should always do that. Venue. Want to shade an area. You should just start from the dark part and a slowly drag it into the light part. So your work would not get messy. You would not get diagnosed in a place that you don't want it and it would be neater and better. So we cover these parts right now. If we thought that it needs more darkness, we will do that in the future. Again, in these areas. Just like that. And we continue and we need to work on the upper lip a little bit more. We add a bit of darkness from the dark part to the light part. And we continue like this so we can have complete foundation of the opera lip. 11. Complete lip foundation: Okay, now I want to work on the darkness for this area. They want to create the dark missing here, which is very, very strong. It's almost completely black. I'm using a very small and delicate brush. So dark color would not get spattered. The parse that we've determined ourselves should work on these parts very, very slowly. Okay. On these parts very slowly. So we would not even accidentally go into our teeth because they shouldn't be there. They shouldn't get any of this darkness right now. Okay. Now with a brush like this, because it's very, very dark. Brush like this. We drag this darkness from where it is stored down. After I've darkened these parts, work on it with my brush. As I did for delivery. I will use this brush. First. I will go around it on the lines. And then for this part, I will use this brush. It's a bigger one. From the darkness of here, I come down and I will shade the tongue. You see I do not put so much pressure on it. I have very, very low hand pressure and in circular movements and very slowly and just drag a little bit of this darkness toward down into the tongue because I want to shade the tongue. So the good news is that first we did with this brush and then pick a bigger brush. I will go over the tongue and I will shade it from the darkness towards the lighter part. Again, I say my hand pressure is low. I just want this area to have a bit of color. We will not go into the teeth right now. Okay. And for this area, because I don't want any stains on why work. I take a bigger brush. I do not take any more powder on my brush. And I use the darkness I already have in my work and I come to our tongue again. Now, the T, C, C, It's a bit darker. And these edges, so with this brush, I'm going to shake them upward, create the lines, and then I shaped them. Okay. Hi. And then we will do here. Now again, exactly like we did for the upper limb. First we create the wrinkles on the left. So after shading we would not lose their placement. And then I will work on dead lower lips shading. And then like this, we just shade this area little. So when we wanted to start shading with a bigger brush lip line. Just tapping, I drag this shade outside into the lower lip. I also do the same around the finger. Okay. Now, this brush very slowly. Here. First with a smaller brush. This part is a bit dark. From these lines, the same brush that I'm holding right now. And try to search shading. So it takes a bit more powder over this area that we have a shadow. And it's a very dark. We just create the linings for it. Completely. We will use a bigger brush just to spread all over our work, all over our lower lip. Again, bigger, even bigger brush. And do not forget about the movements of the hand. Then just drag your brush and linearly on these areas. It's really ruin your work. And again, I use a smaller one, smaller brush because we will get near to the finger. I don't want to get inside of it. And from here again, I took this brush in my hand and I come from the edges of the finger, turn inside of the lip. You take 1, which is and we work on these parts which are lighter. Note that it's not going to be shaded as all. Its will be shaded, but not as much as the other parts. Shade in this area is so much lighter. Again, bigger, even bigger brush. He didn't. Now's go over these parts. So much. In like this, we shade these parts. And with a bigger brush, I do not take any powder on it or any darkness on it. I just go on the light parts and it just fade them elicit more. So when I will use my eraser on it, it will show itself perfectly. These areas are a bit more darker. So I will choose this brush for that. And I add some more darkness at the lower part of the lower lip. Okay. In here and we'll continue with the rest. 12. Begin the tutorial of the fingerfoundation: Okay, Now we want to start with the hand and creating the fingers. Again with the brush. We go around, depart said we've already determined in our primary sketch. Okay, Now, for here I want to use one of my cosmetic brushes. So you'll get to know how to work with them to There's a hint for when you want to use cosmetic brushes is that because the tip of it is very, very soft. When you put it into powder, you should test it so much because it might take too much powder in itself. So when you're using your cosmetic brushes, you should be very careful not to create any stains on your work. I can see in here, maybe it's not really clear in the video for you, but if you have the original photo in front of you, you can see that it's not too light here. It has a little bit of color. But I'm doing it very, very lightly. Pressure is very, very cool. Now we come to these parts. And do you see when we are using are cosmetic brushes? It's not like these kind of brushes. These are tough. So we do not use circularity movements when we are working with cosmetic brushes. You can do it as a way as I'm doing it. Because the tip of them are very soft. And even if you do them, if you work with them in circular movements, it might even get a stain on your work. Then again, be careful. Just like this. Now I will work on this bar which is kind of an edge. I work on it with a sharper brush. This area is darker. So as you can see, I've changed my brush for these parts. Just like this. I tap my brush upward. Then I come over it again very slowly. I come down. Again, I say because the texture of the brush is very soft, it gets too much darkness in itself. Exactly like this. We come down and we drag the shadings a little toward inside of the finger. Not too much, just a little as much as you can see, I'm doing it. Now. These parts are darker. So I use more powder in here. Now this is a cat tongue brush. It's famous. And they call it can't tongue. And I'm going to work on these parts like this. We fade is more. See, I didn't add any pattern here. I'm just using the powder and the darkness that I already have on my work. That's how we fade this area. This part is darker, so I put my brush and my powder tested on a paper, and then I bring it into my work very, very slowly. Just make it darker. Here. I can say that as a line. So it create this line. And again, I add some darkness. Darkness, but pressure should be very, very definitely should test it first. Because we do not want any stains on our work. And the dark stains, just like this. Darkness level by step-by-step. From the darker parts to our delight, our parts. There are some more lines in here, again. So very, very slowly. I will determine them in here, in these parts that I can see them. And then again, layer by layer, we come in and add some shading to it. So you can see the darkness in your word is layer by layer. If you work and lightly from the beginning, if later it needed more darkness, you can add it, but if you were dark from the beginning and you might not be able to fix it in the future. So be careful. My brush on the darkness. I bring it to my work. Okay? Now, from this part, I shade toward inside of the other finger because this bottom area is dark, and then later I will just fade the other parts of the finger. So right now I want to start from this lower part. Here. I want to create the shading. They're just like this. It's very dark, so I'm creating it very dark. There is a brush to spread it out. And I count from the darkness toward inside of my finger. Okay. All right. I will use this brush. Android circular movements. I shaded. Now again at this fresh, again with this circularity movements up and down. And I work on these areas. Now I need a bigger brush like this. And with that, again, we start from this side with circular movements would come out. Actually. We come from both sides and both edges toward inside of the finger. As you can clearly see, from left side we come to derived from right side, we come to the left. Again, with circular movements, I come down from this part to the bottom of my finger. Now again, a big airbrush. For example, in these parts that we have light, I, I will lower my hand pressure and decrease my hand pressure and I would not get too much shading on those areas. And also in these parts, again, like this, very, very slowly with a very low hand pressure and in circular movement just to give it a color. Okay. Okay. Okay. 13. Completing the foundation of the fingers: Okay, now for this area, I'm using this brush and we need to darken this area a little bit more. I have to make it darker. And then we will work on these parts. The edges of the nails. We tap them toward down. And also in these areas all around the nail nipper that it's connected to the finger. I didn't take any more powder. I will use the darkness that is the powder that is still on my brush itself and on my work to sit on a paper. And then again, it bring it into our work. We should have a very low hand pressure down. Forget that. It's enough up to here. So now we will do to shadings on the finger. And then after we're done with that, we compare the nail to the finger and see if it needs any more darkness we added. And if it's not good for us, but know that your work actually needs editing until the very last moment. So do not be afraid of that. Because when we shade a new areas, it is actually giving our work another look. So we might have added some parts, might add shades or use eraser. So don't worry. And a bit more darkness. Is this brush without taking any extra powder on it, without taking any powder on it. I'm just using the pattern that it has still in itself and it's on my work. Again in here we have some lines so very lightly and gently work on him. And of course you can work on these lines in your detailing phase with the eraser and stuff. But right now I just do that because I don't want these lines to get lost. And when we're shading, It's hard to keep them if you don't go over them and determine our lines. And add some color into these areas? Yeah. Okay. Okay. On the fingers wrinkles. Determined these parts. Okay. We do this finger the same way we did the first finger. So as the same as we've determined the wrinkles and lines in our, in our first finger. You do the same for this one. So if you, again, I say you can skip this part and not determined their lines, you can create them in the last phase. When you're adding the eraser and stuff, it's really better to do it right now. I want to use this brush which has tough tip. Start from here. They come toward inside. Let me change my perspective. So you can sage better. You should put your hand in a comfortable angle and you want to shape. That's why sometimes I rotate my work. I didn't do it a lot because I want you to see more clear in the video, but you add home, you don't have any limitations like this, so do it. And in this area, if you pay attention, we have a strong darkness. So that's what I'm creating right now. Now at a bigger brush, I come over this part because it's almost big area. And just like this red circular movements, a shaded and we come from the darker parts to delight our parts. These parts. Now we'll take a bigger brush. We tested first so we do not have any extra darkness on it. And then again on this part, one to work on this lines a bit more. Again with a big brush. I start shading from the darkness to our delight. And again, I go over these parts and a little bit more with my soft brush. So the lines would not actually stand out. As a specific lines. Fade deadline. Take a bigger brush. Keep it like this. Again from this part of the finger and have some data we want to do right now. This branch with test set. The first tested, they had so much darkness in it because it's a soft brush. And very, very slowly. Like this. I will use my cat tongue brush. Take my work. Again. Then again, we take a bigger brush. We did not take any power drawn it start from here and very lightly. Start shading towards the inside of the finger. The darkness that we already have on a cardboard is enough. And we take a little from our paper and not in powder ball. C, you should be very careful because in the middle of our finger in here, we have a strong light. So I come from both sides toward the middle of the finger, but I do know is good is too much shading on the medulla. My finger. We keep it like this. On the bottom part again. K first and just give it a color like this. Create this wrinkles and the lines for it. Okay. Now use this brush, cosmetic brush. And then we take a bigger brush and we'll start shading like this. Sarah coloring movements. This area is not too dark to say that these parts are a bit darker. Keep it like this, up to here. 14. Shading around the fingers: Now we want to work on these dark parts on this side, c in here, with the same brush that I'm holding right now. Adding darkness. These parts are very, very dark. As you can clearly see it in the photo. Do not rush through it very slowly because we don't want to drag the darkness place of data. We don't want them to be. Your hand is a BMR free. It should add to darkness. That is say, okay. You see this area here. It's very, very darker and then this has a very strong darkness. In the same way down we did for an a finger. We do the same for here. I just stood and that's way so Darkness would not actually gets into my LIDAR apart. Into my hand. Here is completely dark. Definitely blow off the extra powder from your work, especially in these bytes, because we get a lot of powder here. Here's the fingers. Hi. Hello. Smaller brush. Turn inside of the face. Again, the darkness in this area. Take a bit of powder, bring it here. These fights. Again. Take some powder and bring it into our work. These parts are darker than they are right now. So I should add even more darkness here. See any air, it shouldn't be like a line. So it's the same brush over this line around the edges. And we faded. So it would not be seen as a specific line. Take a bigger brush. Okay. We'll stop here. And after that, I do now is continue here. First, I start from the top to create the shadings of the face. You see from here, from the top, the forehead, the size, the cheeks. I start to create the shadings. And then I get to the chin, the mouth, and chin. So slowly get to this part. I just make this area dark so the fingers will actually pop out and they can show themselves. Later. That will complete our shadings on the face will come to the part and completed two. 15. Forehead foundation: Now we want to work on these areas here, the forehead for that. First we need to create them the hair line with my brush in these parts here. So I wouldn't really not lose at a hair line. We know where our hair starts. So now rotated a little my model in front of me. And definitely we should put a paper underneath our hand. So our work but not get messy. Okay? You see, we create very, very small lines and the hair, you do not create a straight line because it should be shape of the hair that comes to our onto the forehead. And we darkness toward the forehead. Be careful about that too. Okay. Okay. Okay. Now up to a year with a separate day hair part from the forehead. Now, shading too far ahead. I chose this brush. It's very rough and it's in this size. Very, very snowy. We take a little bit of shading Z without any too much pressure. We use a darkness that is entourage did for our hair very, very slowly it using those dark dense we shade this area. After I added my shadings on the forehead and the par next to the I come back and work on my hair. For now because the hair is too dark and I want to share my work. I do no want darkness of the hair coming too much to my work. I take a bigger brush. Movements. Drag these shadings toward the inside of the face. Okay? I start from here, meaning the part that we've put the tape and we come down. Now we'll make it a bit more faded. Now bigger than that. First, you should test it on the paper. See you do not have any extra powder on it. Again. Middle of the forehead is lighter so we come the shadings will come from both sides to the middle of the forehead. The center of the forehead. Now. Darker. Comparing two here. I take a little bit of darkness and powder. I tested on my card, on my papers. Hurry. So let me put it in this way so you can see better to just rotated my work because I want to start from here. And I will start shading. Okay? Okay. Hello. Now with a bigger brush, I come over these parts. Now with a bigger brush. In part. From the coroner. Circularity movement. I shaded. Careful for these parts of the face, will definitely work with big brushes. On the corners. We will use a small brushes. By the way, we want to shade a bigger area like the forehead and in the middle. You use bigger Russia's even in some parts bigger than this. Okay. If you use a small brush, work, have some stings. So I'm going to use even a bigger brush. This brush, the 30 macro brush. First I just said and done I bring it on my work. You see, because it gets more cohesive. So we faded and we make it darker as much as it's needed. We shouldn't drag the darkness onto it very directly. You should test it very much. So it would have just a little light, light trace on it. So then we can bring it into our work. Well actually up to now you should be very familiar, familiar with a way of shading that I create my shading from this angle. And of course, red circles ARE movements my downlinks because this barn is lighter. So I come from the right and the left here. Do you remember that I told you do not use any current pencil on the eyebrow. This is why because when we want to work on the forehead and the shading will go over it and it takes it onto the forehead. It gets our messy. So first we do that and then we work on the eyebrows. 16. Working on hair and ears: Okay, now with a flat brush, I will work on hair, hair, the parse that you feel like it's very, very dark. Just very slowly. You do this. Our very, very dark, almost black completely. It's not like this in all the parts, but you can see some like this. The dark lights, which is here. I take a man more darkness. If you pay attention, you can control the darkness. Don't know a drag them to the part that you don't want them to be. So should just create a darkness here like this. So you want to add some eraser on it. It wouldn't be problematic for you. You see it should not drag the paper underneath your hand when you want to move it. You should then drag it onto your work. You should pick it up, put it in a different angle and a position, and then down again. Hello again. Hi. Up to now. So we'll work on it again. Work on for that. A separate deadline for the phase for the line for the ear. Like separate days, two parts. These parts are darker. In this area, as small brush, we start shading very, very lightly. You work on this area? Okay. Can lead this side and we can shade. So you can see in what direction then she should go. Okay. I do not put any more darkness. I don't take any more powder on. 17. How to shade the face foundation: Okay, Now for shading this area, you want to start like this. First, let me show you. Now I want to work on this part. You see one part is lighter and one part is darker. So I want to start from the dark part and a shaded toward inside of the face. Okay, with this brush, I am going to start. I take a little powder and I start, Hey, work on this part. Hello. Okay. I would take even more darkness and restart. Again. We take MMR and powder. It, pause it here in the dark area and we start shading. Then with a brush, which is size bigger. And we can start this. Again, I take a test set. Please start shading from the dark side too, inside of the face. The darkness little by little. Being careful we do not bring a big amount of darkness into the face. All of a sudden. So little by little, layer by layer. I choose a smaller brush and I use it on this darker part. Again, I take, and we take this test set and took a bank our brush, brush, all these parts toward inside of the face. Now. With this little brush, I want to start from this side, the part down to the nose and lips. Very, very slowly and gently. Now I take a bigger brush, Take a minute powder on it. Hello, hello. If an, a bigger brush like this, and I fade it, and so on. This area and I come here. This area turned up. Okay. We start from here. And this very, very dark corners and just determine their placements. My hand pressure is very, very low, my friends, very slowly. Okay. Now I take a bigger brush. Okay. And again, very slowly, this area is lighter so that small brush, because it's a very delicate area. We create all the dark corners and edges. Darkness with a smaller brush. Put it in the powder and bring it down to our work. Okay, actually a bigger brush than that. See here you have to redound to come over and still need some more darkening. 18. Continuation of foundation of face and shading of the second ear: I say why we use big brushes because we do not want any day just shake more cohesively. So I start from here. Just start from here. Okay. A bigger brush. Start from here and just add darkness. Up to here. We can create some darkness. Okay. We'll start from the corner. Bigger brush. Again, we add darkness, we tested, sorry, we get retested. And B, go over these parts. And again from the dark parts, the light parts. Okay. Now again, I've put it into darkness. I put it into powder. And again, just get faded like this. Okay, Just a little over Here we go shading because it's the light part. But we shouldn't leave our cardboard white and on touched. It should definitely have some shadings. But comparing to the other parts, it would be less and the shading would be lighter. Okay, now we keep it like this. And we come to here, this part. Okay. Gary add some more darkness because it's still lighter than it should be. Now, this little part is very dike. I'm going to work on that because it's too dark. I choose a smaller brush and I use it on this darker part. And for making work even faster because this area is very, very dark. We can darken these parts. And then again with our brush, come to this side and we shaded all the way through. I choose a bigger brush. Okay. This is up to here. 19. Shading the foundation of the other side of the face: All right, now we want to work on this area with the same brush and I'm holding right now very slowly to allow hand pressure. I start from this side. I drank some shadings out to the face. It did not take too much powder and darkness. We just use to pander and a darkness that is already on our brush. Take the brush and the edge of this line and we just drag it toward inside circular movements exactly on the line. Be careful. Even I continue all the way down through the chain. But right now, there's just going to work on here. And then we continue down all the way to the chin. Take a beggar brush. First retested because I didn't take any powder on it. For now. I'm using the darkness next day hair and it's still under brash. Use it and we shade this area, tour down inside of the face. You see it gets dark spontaneously for this area and even choose a bigger brush to shade and more cohesively. Drag it to our DI. Also, these parts do not take it too much forward because I should use a bigger brush for that area just so I can get a little far away from the edges in a faded like shape. Hello. I start from here, from the darker. Shading gently. Inside. Part delight. See, it's a little bit darker than it is like this or just shaded. I'll use a smaller brush for the part of the upper lip above the upper lip. A shaded here. Then I choose a bigger brash. A big R1. Mm-hm. Okay. But this brush off the extra powder. I do not take any powder on my brush and just start shading dark. Thus, I already have on my work. Then with a bigger brush. And I fade all these. Take a baker, our big brush, and just give them a trace of shading. Now we come to this area because here it's a bit darker and any needs to be take a smaller brush. I take more darkness, gets bigger. I come over all these because they need to be darker than they are right now. Again, a bigger brush. You can see the size of the brush in my hand and it's changing. And I say it anyway. Now, if an invader brash, we put it a little in the powder, tested and then bring it into our work. Very gently. See these parts here at their own light. So I just create a shadings in a crescent shape from both sides until they get into the center of the chin. And we just leave this part light. It's not that it doesn't have any color, but it's very, very light. Has a strong light. Now for this area, it's better that this let me take a smaller brush so I can go around here because it's a small area and I don't want to make any mistakes because you want to create more shadings on it. It would be very slow. 20. Shading the chin and neck foundation: Again from the dark side. And we come to our delight. Like this. Very faded. We come to the light. Take a bigger brush here, even a bigger one. So I just come over those light area very, very slow layman my big brush because I just wanted to have a trace of color. A very light sleep. Okay. Now I want to work on the neck. These parts are very, very dark. It's a specific line which is very dark. So I start from this area. Now at this brush, I take powder and I drag it down. Very, very small amount. I take more powder, smell amount. I come here. I start chaining from the dark side, downward. K Now with the same brush which is in my hand, up. And I shade this area very gently. Now it a bigger brush. We start fading it and we come down to the surface of the neck. I do not take any more powder. I just use the ones that I still have on my work. I make my brush smaller. And you've seen here, we have this sense. And I take some more darkness, some more powder. And I shade from here down. The smaller brush. Feel like needs more, need more darkness. Use a smaller brush on that. Then I changed to a bigger one. And then from the darkness, I come down to a delight. Then I changed to a bigger one. Circularity movements because I just want to fade it and makes it up into my own work. Okay. Just like this. Over all of this part. The exact same way, use the same process. So first we do the parts which are darker and then we go to the parts which are lighter. Okay. Then again, I take a little powder from this dark side. I come down and little bit of powder on my brush and tested and start shading the whole area. Cosmetic brush. And we'll just work a bit more just to make it darker. Pressure too much because we don't want any stains on our work. Now of up to here we have the foundation of our band. We go to the detailing phase. 21. Start the construction phase. Eyebrow detailing : All right now. We are in detailing phase, meaning that we gave all the parts of basic shading and we the foundation, but the detailing phase is the last phase. It means whatever darkness, whatever light, whatever hair. There it is. We will work on it. OK, so so first we create the hair, the eyelashes and the hair on the eyebrow. OK, so. First, I see if it's if it needs more darkness, I apply more darkness to it. I start from here with circular movements because I feel like here I need more darkness. We also come to this light area as well, because we want to use our eraser on it. It should have a little bit of color and shade. So we'll work in all of on all of these parts in detailing phase. OK, these parts here should be darker. And of course, these parts above the eyelid line, they should be darker to. As long as you can see, it's dark and you should create its darkness. We come over this area that if later on we wanted to create the eyelashes, we would not get a spatter, it would not get, you know, messy. So in these parts that are lighter, we shaded but was shaped them a little, not too much so later that we work on over that area. So the show itself. We go up. I take a little bit bigger brush. Now, after we aired and applied all of our darknesses in the places that we needed then. We use our current fabric so hard pencil. First, we sharpen it completely, as you can see, and then we come over these parts and we start creating the hair first on the eyebrow. Their hair on eyebrows should be sharp at both ends. Do not forget that. Do not Harry, at all, you shouldn't be worried, you shouldn't rush through anything. I brought the word closer so you can see it better. So first recolored and then again, if we needed it, we'll do it again. All right now. Now I'm going to use my brush for darkening this area, so first I create all the hair on the eyebrow with my sharp pencil, with the hair sharp at both edges and ends, and then I go over them with my brush to fight them. I do not take any extra powder to my work, I'm just using the darkness of my lines and I'm feeding them just to make them look more cohesive into my work. And after that, again. We will use our pencil on that. So it will be completely field. OK, again, we sharpen our current pencil and we come over it again. Again, you see, I'm using the darkness that I see in the lines in themselves, I would not bring any more powder into my work. So I will work on the parts and that was the darkness, now we use our eraser to create some lights. You see now the tip of my eraser has got a bit dirty, so I use my cutter to sharpen it and clean it at the same time. 22. The process of completing the right eye: So after we've applied our lights in the eyebrow with our eraser, we will move on and work on the eyelashes. So wherever you feel like it's complete darkness, sharpen your pencil very slowly. And you work on these parts. You should be very, very careful. It's a small area. And now, of course, as you can see, my pencil is very small too. That's why it's a little hard to handle, but a few on to use your pencil, make sure that it's long enough so you can hold it in a good way and you can handle it better. Okay. Now, you see from these parts should go up thus far and switch. And we can see too much darkness like this. These parts should be dark. I'm creating these lines for the eyelash and I'm throwing my hand after cardboard at the end of the lines. Okay. The extra powder from our work. And then from here, again, I work on the eyelashes. Just want to feel the eyelash parts should be failed. Between them are completely dark as you can see. Because here it's darker. I tried to use my pencil on this line. Okay. Now we want to work on the eyelashes for the lower eyelid. It's very light in this area. And they're very, very small in here. Your compound so should be definitely, definitely sharp. Especially in these areas. Even whenever you're working you felt like It's got a bit thick. It should go sharpen it all over again, because it's very, very important. So we should add this darkness wherever it's needed. Okay? Now we want to create various small lights that we have here. Now we're going to create them with our electronic eraser. There is another light over here that we created later. For this part. It would get darkened. Okay, Now we will use our electronic eraser. Will sharpen did tip of it completely. And as I told you at the first part, That's how we are. We will sharpen the tip of our eraser with the sanding. We sharpen it and we start to create very small dots with this very sharp tip on our islet. Hello. Dots. Spots should be small. She create them first. Eraser on our arch. Careful about that. Okay. Okay. Here we are. Now I'm using my eraser. I work on these light areas and I just got to connect them to each other. I'm just tapping my eraser. Nots it. So after we use our electronic erasers should definitely use our eraser. And just to fade all these areas. And of course, instead of electronic eraser, you can also use white pen. Wherever you feel like it's too much light. You can work with DRY depend too. So just like this, we sharpen the tip of it. Sorry, reclaim the tip of it. And now I use my white pen to use. I'm not putting any pressure in here. Very, very small and very gently. I'm just creating some dots, spots with my white pen without any pressuring on my cardboard. Okay, Now I go over this part again. Read my electronic eraser, I keep it this way. And I create very small dots. Spots would allow pressure. Again. Again, I will use my eraser to fade. These parts. Specially can see more light. Underneath this line we use with our eraser or maybe with our other erasers. And then we will fade it downward. Okay. Inside of this inner corner on DEI, work on that. And then again, we will say that with our deaf or Acer, which are very, very small and they are not showing so much. We can create them with our eraser. So we want to overuse our electronic eraser and it would be okay. Okay. So I've created this slide with my electronic eraser. And inside of it I can see very, very small line and very small dot. Inside of it there is a line. And shading. It means a bit more on bioelectronic eraser here. And again, my eraser, I sharpen the tip. And I create some lines in my pupil. Because the lines are not too strong. We use our Dove eraser for creating them. Wherever we see very strong glides, we create them with our electronic eraser. But wherever it's not that a strong we use are deaf or a server that is would be enough and it would be okay. Again, wherever you feel like it's needed, you can do that. You can see that the difference between detailing phase and death foundation part. 23. Detailing and completing the left eyebrow and starting the left eye: Now, we will do the same for the Mac. So I start with the eyebrows. Again, I say, throw off the cardboard that it will make the end of the line sharp. Okay? Okay. Now I go over them with my brush ones. A brain does shading a little bit. And then again, we will use our pencil on it. By hand. Pressure will be a little bit more, so it will get darker and it will show itself better. It will be bolder. So that would be dark. So I will use my king in-between them. Okay. Okay. Then we will use our pencil to work on eyelid. So just like this. Okay. Part of our line would be sharp. Hi. Okay. The part between them should be darker. And then again with the same pencil. Just add a little bit more color to this line. Come on these a little bit. Then we will work on the lower eyelashes, on the lower eyelid. And in here we use our electronic eraser to create a strong light. And it has a very small dot in it that I created with my pencil. Then again, I will use my eraser exactly like we did for there. I had my I create very small lights that we can see in here. They melt data strong dad. Now we can created with our electronic eraser. But it's okay. We can create them with deaf racer. So wherever you see light, it depends if it's too strong, you can created with your electronic eraser. And if it's not, you can create them. Here. I will use my eraser. So you see light he had just created, for example, work on this area. Then again, I hit my eraser. I would go over this part of the I lead with my eraser. The electronic caret, sir. You see, I'm just switching my erasers and I am creating very beautiful lights over here. And here, for example, I first started with my electronic eraser. Then we have sharpened her and I fix them, mix them all together. My white pen would be great to hear that very, very low hand pressure. It's very, very small dots and spots. Now we use again our electronic eraser. Sir. One after another. Faded. We should definitely work on these parts too. 24. Completing the process on the left eye: Here we need more strong lives. Then. Very, sir. And now for the parts above the eyelid, we're telling you process is exactly the same as we did for the other eye. There's not much of a difference. We take. These parts are lighter. They just want to work on them and create them. So I'm tapping my eraser on the parse that I've used my electronic eraser. And now I'm working on these parts with my white pen. Especially in these parts. Here, hand pressure should be very, very low when you're using your white pen or when you are using your electronic eraser. Be careful, my darling is very, very important. Wherever you see more lie T-Shirt create that. I'm telling you. A little lower here. From this side with up to here, this corner. 25. Forehead, hair and nose detailing: Okay. Now for this area, if you see, we can see very, very small hair in here, very delicate herring here. So I'm using my eraser. After you've applied to the darkness as much as you need them. Then you can use your eraser and create these very, very thin and delicate hair, which are coming from this side. Okay? Now you want to work on our hair a little bit more with our cones pencil. And we should use very, very low hand pressure. Just wanted to get the shapes correct, slay them. Very slowly, like dance, because it's so clear and is more faded. A little work on these parts as much as we can see them. And then work with the eraser. Far side we can see our lighter. We create our hair like this. And these parts which are darker, we go over them with our brush, cosmetic brush a little. Then again. Just add some hair randomly. You do not create them in a special order. Be careful about that too, because that makes you, makes your work look unnatural. Now on this parts of the nose we can see various small light dots and spots. So we'll sharpen the tip of our differ Acer and very, very slowly. Just like this, we create these wide small white spots. Are hand pressure should be very, very low. It's not too much insight, but just created very lightly. Okay? Now, for this part that we can see beneath it, and we use this brush and do dark in these parts. Then we will use electronic eraser and create these lights which are next to the nose. Very small. You create various small dots. Now, I have a hand pressure. And this time I'm using my eraser. We keep these little spots and little dots going up to here. In this area. Okay. Now for this area, it's a small light, It's a small hair. Actually. Use our eraser and randomly would just create them. Now for the light of this nose, we can use both your electronic eraser. And you can actually not turn it on and tap it. And create delight. Now, for a survey come out. And we faded. We do not pressure puts pressure on it so much. So it would not guess as of the hand, and it would stay beautiful. My hand pressure is very, very low. For this area. Actually kept this middle part of the nose, the nose red light, even why we were coloring and shading. But just use my eraser on it very little just to give it that shiny and light look. And now in here, it does same div or a cert. And also some parts with the same eraser. Pressure. Again, I say I don't know, pressure might have any pressure on my eraser and I do not press it so much until I work. This area is way wider than the rest of the area. I'll, of course you can see that in the picture it's way more lighter, but it should have a little colors. So later we can have our eraser on it. We go around it and shaded more so the light part delight area will show itself better. 26. Detailing teeth, nails and lips: And can now see that the shading is almost up to here using the brush that I have in my hand. And I come down a little. Then in these areas, just create this shadow. And the add some shading to it. A very small brush. I'm going between the tea to create the lines for now. Okay. I take my powder and I bring it into my work. Now. I will use my pencil. And a very slowly I want to create the lips wrinkle. You see, I'm just going over the lips wrinkles. That my pencil. Though they press it into our work who do not have any pressure because before we did it with the brush and now again we will go over the brush again. Okay, we create darkness. And then we will use our eraser to add shops and we'll be finished with it. Will create the lines on the lip. Then again, bringing fresh beneath her. We darken it. Now I'm going to use a smaller brush. And I emphasize these small lines we have here, which are between rain coats. Actually. Maybe it's not too clear. But when you zoom in, you can definitely see these parts should really create them. Okay, even some smaller wrinkles and lines and we can now create them with our brush, so our fader for those kinds of lines. Okay. Okay, and this part then we have our electronic eraser on Add to create these lights. And then again later as always, use lights and make them look more cohesive with our work. And we go up a little Is far as needed, more light. My hand pressure is very, very low. And just like this, wherever you see that line. The same way did I did here. Now for the lights on, this area is not too light in here. Some lights on the tongue as well, which we create like this. We do the same for the lower teeth. If you see her nails, we can see some designs that we create with our fader. So a crane, some designs as we can see them in our work with our fader. Like this. Very easy. And then we use our electronic arrays search again here on the corner of the mouth. 27. Complete lip, chin and neck detailing: Okay, now again, we use our dough fairies, sir. And they use it over here. Like this. We do not put so much pressure on it. It might not be very clear for you from this stance bottom, I'm just creating very, very, very small dots. Now for the lab. You see this line. Now I should create it here. Should create the lines. You can see doesn't have that much wrinkles like we had in the upper lip. But still it has some. Here we have more light screen days parts with tapping our eraser. Now, we use our data and we work on these parts. Just fade all these dots and spots that we've created with our electronic eraser just fade. All of them are deaf or Acer. Okay. Hi. Hi. Hello. Okay. There are some very small and very thin hair, too much of them, but I'm using my eraser for creating them. And my hand pressure is very, very low. Now, you can see some various small dance and spas said recreate them. We'll create the texture of these parts. Well, the texture of the skin. For these bars then we can see it's stronger is our electronic eraser. And to create lights. There are very, very small. You've seen these cards. We can again use our duff and various. Create the text string here. Under the neck, under the face actually then, then phase into head connects to the neck. Continue like this. Pressure. 28. Add details to some components of the face: For these parts, we need to use a lecture on a caret, sir. Again, my little here. Just create them. You see? Again, I say our hand pressure is very low and do not put any pressure on their hand or on the eraser. Because it carefully now work. We can use a white pen on these fights. Okay. Hello. 29. Start working on the fingers: Okay. Now we got to the detailing phase of the fingers. Again, I say, ever we feel like it needs to get darker. We apply the darkness. And at last we should work with the erasers. I'm using this brush to go and apply all the darkness I need in all the parts. Then I will use my eraser here. And I work and these parts here slowly and just by tapping them. The same denounce worried, just tap it and you will have it. Upper area is very light. So I'm going to use an electronic array surfer here. And then again I start tapping this length is and go over these. These are actually the details for our finger on this area. Very light and to darkness and is still on our brush. And I use my eraser. So thin edge. Just create some shapes like this Very, very lightly. And in these parts, we create very light lines with the same dough for eraser. And then later again. And we'll work like this. Again. We will sharpen as sorry, with the sharp edge of our eraser. We go over these parts. And of course, when you have domain modeling your hand, you can see the details perfectly. So as its name into detailing fails and detailing phase, we just pay attention to the details. Whatever it is, it's the darkness, it's the lights, It's the textures. Now a very small spot should be added in here. Very small, small dots, I mean, d's that I'm creating will not go over them too much. So you would not guess too much light. Well, I increase my tabs in the parts like this which are lighter. Create this area. Then again like this. They create a small lies that we can see. Okay. For this part, very slowly. So we add to the darkness of this area. And then we use our eraser on it very lightly. Okay. Hi. 30. Completing the fingers: We're just creating very, very smallest bots that are very small shapes. Hand pressure, light is more. Just tap them. I use my eraser. See I do not drag it like that. Hi. Then again with my NDA for a cr. Hey, we'll darken them. Then I'll use my eraser on it. Here we need a bit of electronic array, sir. Tapping and foundation phase. We kept these parts. We have some small editings with our Doug Fraser. These are just Mary's small details and you should be very careful. You should pay so much attention in order to get them correctly. And in order to get most of them. I'm just shading here with my cosmetic brush and then I switched to a normal brush to cover this area and shade it. Hey Gary, take a bit of powder and we bring it to here. Very gently, very small, not too much. In here. Here you can see some lines there. Okay. Okay. Yeah. 31. Take off the tapes around the frame and unveil the beautiful hyper-real effect: Now at the end of our work, when our work is completely done and we do not want to work on it anymore. What should we do? Remember that at first I told you should take the frame of your work, but paper tapes. Now, it's time to read these tapes. I'll firework, but you should do it very various cell the so it doesn't harm your car. Your cardboards surface. Just like this, but continue to the end. Now it will have a beautiful framework. Now I just do this barn for you. But you should do it all the way. Just so you can know how to take them off very, very slowly and gently. And also there is another way that you can get the blow dryer on them to get them warm so they will get ripped off very easier. Definitely always before you start shading and creating your sketch, you should apply these tapes. So at the end you will have a tape, you'll have a work this beautiful and this need. So this is work. I hope you've enjoyed it and you've learned a lot. And I hope we can be together later again. And good luck to you.