Women in Watercolor | Fiona Di Pinto | Skillshare

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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

7 Lessons (39m)
    • 1. 01 Introduction

      1:11
    • 2. 02 Materials you'll need

      1:05
    • 3. 03 How to plan your sketch

      9:03
    • 4. 04 How to mix skin tones

      3:14
    • 5. 05 Painting the portrait 1

      11:52
    • 6. 06 Painting the portrait 2

      12:08
    • 7. 07 Conclusions

      0:48
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About This Class

Hello, fellow artists!
In this class you will learn how to paint hauntingly beautiful female portraits in watercolor.
We will talk about expressions, poses, how to create light and shadow on the face and then we'll jump right in and paint a dramatic portrait, with a step by step explanation of the entire process. 
Anyone can take this class, even beginners and, why not, take it more than once till you achieve the result that satisfies you most!

Hope you'll join me on this creative journey! 
Fiona

Meet Your Teacher

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Fiona Di Pinto

Watercolour and more

Teacher

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Transcripts

1. 01 Introduction: Hi, My name is few, and I'm welcome to the first class of her own skill share. I hope one of many this class is going to focus on learning how to paint hauntingly beautiful watercolor female portrait's I love art that convinced contrasting emotions like strength and fragility, powerful nous and weakness, light and darkness. So I'm now putting this out there for people who are in search of the same thing created for artists who already have a little experience in water color. This is, however, a class that even beginners can try out. And why not take more than once to see how much they can improve each time we'll start by covering what kind of materials you will need and how to use them on. Then I'll walk you through, creating a great sketch, getting your proportions right. I'm making the poor ceremonious. I will then take you on a step by step journey in which I will show you how to sit your highlights, mixed skin tones and paint light and shadow on the face. We were working, making the eyes and expression soulful and dramatic on creating expressive backgrounds. And then we'll jump right into painting a portrait that will reach the viewer soul. For the final project, you will paint your own female portrait that you will be proud off hope you'll join me in this creative journey. 2. 02 Materials you'll need: So let's start with the materials you will need for this class. Ah, good watercolor paper. I love arches cold pressed, but you can use whatever as long as it's watercolor paper. Kitchen paper. It's very useful to lift color two jars of clear water to clean your paintbrushes better and not have to go to the bathroom so often to change the water. A needed a razor under regular eraser. You will also off course need, uh, hard HB pencil for your sketch. You will need paintbrushes, but also add a smaller one to get the details in. You will need white gel pen to put the highlights in in case you lose them along the way. Masking tape. Andi Um, last but not least, a set of watercolor paints. This is a shrink asset, but any set will do as long as it's decent quality. So let's dive right in 3. 03 How to plan your sketch: aren't the sketching. It's important to get a good sketch before we don't spare onto watercolor paper. Here I am, creating a dread around an old sketch of mind to show you how you can use. Agreed to transfer a reference image of photo onto paper, not watercolor paper. You have to get your sketch right before you transfer onto watercolor paper. So I created red here like a rectangle around their face and head on. Then I will have a vertical line dividing the face in half and horizontal lines where the mouth, nose, eyes and eyebrows are. It is not important for the sketch to be the second sketch your sketch to be exactly the same as your reference image. The most important thing are proportions. The distance between features. Andi symmetry. If we get these right. Sorry about my head here in the way. If you get these right, then your sketch will definitely look good. So use the sections on the grid. I will later on show you another kind of grid that you can use if you want to go even further into detail. Any kind of great is good, actually, to get a sketch that you are happy with and keep going. Keep trying until you get a sketch that you're happy with. This is just your regular paper. It's not expensive watercolor paper. It's just sketching paper, so it doesn't matter if it gets ruined. We can just rip off the sheet and start over again. So keep going till you get a sketch that you're really happy with. Then once you've got that, you can show you the different right here. You can use a transparent paper to trace the sketch that you've got that you're happy with to transfer onto watercolor paper. The reason why we're not drawing directly on watercolor paper is because if you make a mistake and you want to use on a razor on it, you're going to win it or get black marks of smudges on it. And we definitely don't want that because watercolor paper can be very expensive. So what you do is you trace the your your sketch onto transparent paper on. Then once you've done that, you can flip it over, countries it again over the back, as you'll see me doing in a minute eso that you don't get a mirror image off your sketch when you transfer it onto your watercolor paper. So once it traced back, you slip it over again and you move it onto your watercolor paper and start tracing it over all over again so that you will get that final sketch that you're happy with on your nice watercolor paper without having to worry. I'm going more into detail here and show you have a like to draw the eyes and lips in this particular kind of portrait elect expression of the ice to be intense, a sourced at the same time. I achieved this by showing part of the talk pilot, as you can see on by leading the having the Irish sit in the center and often leaving a small gap at the bottom before the lower rim of the off the eye begins. I almost always like the subjects to be looking straight at the viewer. Um, remember, eyelashes don't go the whole way around the eyes, and they're not straight but curved and go outwards at the at. The outer edge also will have a shadow, as you can see on the top of the part of the iris, and that is because it is a shadow cast by the eyelashes, this other drawing of a nice, similar but almost like with a softer expression. Andi, I am leaving the rim off the bottom room, more visible because it's sometimes sometimes nice to have a highlight on that rim, almost like a suggestion off a tear, or like humidity dampness in the eye, which conveys very strong emotion without it being necessarily sad on. Sometimes the irises have that darker circle around them. Also, do not forget that them, Ah, the eyeball is never truly white, but we'll have some shadows in it either like Bluey or agree this other eyes. An example of an I would never draw in this kind of portrait because it is has a lot of white around the iris, and it's a stunned expression. So, yeah, I wouldn't use that kind of I nor this kind of I here because, as you can see, it is very cartoonish, with eyelashes going all the way around on it. Just no, not very realistic. Yeah, so I would say that softer and more intense. Look on the bottom. I know. Let's talk about lips over two lips lips can be conceived as three bowls, two at the top and one larger one of the bottoms of basic ship we can work on as you see me doing here. You start from that simple shape and you gradually flesh them out. Um, I like to start with a line on ticket. From there, lips in this kind of portrait will very often be slightly parted yet again conveying that softness on a relaxed expression. There is always a shadow at the outer corner on the pretty, dark shadow underneath the bottom lip, as you can see here. And of course, there isn't shadow on the fleshy part of the on the lips, Of course, on the shadow grows more intense closer to the opening off the lip. Andi inside, obviously inside the mouth. As you can see, Andi, um, we will also have Ah, very often we'll have a highlight in the centre off the bottom lip. So it's nice to leave that there when we when we you know, we're preparing the sketch for paintings, um, a closed mouth and sometimes conveys mawr hardness. But not here. I would rather call this secretiveness, and there's a hint of a smile here by adding even more shadow to the corners. I really like using this kind of expression as well, because I think it's more yes, secretive on it's like the characters holding back something. She's not giving everything away. I also very often use arm or parted lip where you can clearly see the top teeth on. That is a very delicate and almost sensual pools, if that's your name Onda and when you painting this mixture to never leave the teeth completely white because that would look unnatural, there is always some shadow cast on the teeth teeth on. We will usually use some grays or blues, especially closer to the edges off the teeth. Um, so these are our lips that I would definitely use in my portrait's and this kind of portrait. This is a kind of like that I would not use because lips edges at another harsh eso. This would not look realistic at all. So yes, to all the other ones to these three on definitely noted that one. Once you've got a sketch you're happy with and you've transferred it onto your watercolor paper, grab your needed a razor on start dabbing away. This is just some random sketch of mine I'm using here to show you don't rub, but use a delicate patting on dabbing motion until you get it as late until you get the drawing there under drawing as late as he possibly can without losing it completely. So that you will still have it is the reference, and you want to lose yourself halfway through the painting. But it shouldn't really show through the watercolor painting to, obviously at the end as a final result. Here we have some of my finished pieces. See the eye on da the delicate cover of the neck on the parted lip, the highlight on the lower rim of the eyes have assured you earlier. Here we have our looking back at the viewer again, the parted lips showing the top teeth, the highlight on the bottom lip on the tip of the nose. More of the same here. The strong expression looking back at the viewer on this is sell it different because she's not looking back at the viewer. But she still has a strong expression and have added elements like the wings and this head piece. It looks like a beak, so she's almost other worldly. I like this. So let's try and make some of our own no. 4. 04 How to mix skin tones: We can mix skin tones by using the primary colors red, yellow and blue by mixing red and yellow work uncreative, a skin tone that is going to be very similar in this case toe pale skin tone, which is a portrait I'm going to be painting. Obviously, the more water you add, the later that's color will be on. The more color you add, the more saturated and more intense that color will be. It is very important to test your colors out on a piece of paper. The same kind of people that you will be using for your portrayed in this case arches cold pressed watercolor paper because the colors could look very different on the paper, as opposed to for the look in the Collette. I've now taken that flesh tone of mixed, and I've added some red to create our blush tones on. I'm testing that on the piece of paper as well. I will be using this color for those areas of the face, which are naturally warmer and color. So lips the cheeks, the tip of the nose that years on very often around the eye area as well. I am then going in with that flesh tone again, and I'm just moving it along into my next well on time, adding a pinprick of blue on. I'm creating a shadow tone, and I'm texting on my watercolor paper. A swell. It is very important to taste your colors beforehand to have your politically doubt beforehand, Aunt, to remember which colors you mixed dipped in the tones that you have otherwise. If you run out half way, you won't remember which colors you have to mix to obtain the same thorns again. Here. I've just taken that flesh color and I've added some water. Lots of water have a really pale skin tone here, which I am going to use for those areas off the face which are in light. Um, that comes in very handy. I have now created an even darker shadow tone, using purples and browns added to the flesh tone. Of course, on I will be using this for areas of the face which are very dark indeed, like the corners off the mouth on the nostrils and the inside of the years on also around the eyes. In this case, now I'm taking my flesh tone, and I am painting a circle on my watercolor paper on. I am going to test what the's colors look to look like together. So I'm now going to get my blush tone. Andi, I am going to drop it into my flesh tone on. I really like how these look together. I'm very happy with that. And now I'm going to get that shadow tone, and I'm going to try this as well. Andi, I am pretty satisfied with that, too. So, as you can see, it is good to have your palate prepared beforehand. And this is definitely the range of colors I am going to be using in my portrait. Andi. Yeah, So I have my collect ready on day. I've got all my colors written down on a list somewhere else. Andi, I will know how to mix them again in case I run out, which I definitely will. Because you always do on. Remember to save your highlights because we don't have white and water color. The white is the white off the paper, so don't paint over the areas that you want to be highlights. So I think we're ready to start painting here 5. 05 Painting the portrait 1: So here is my final sketch that I am going to working with. I have my water. I have my paint brushes. I have my water colors. I have my kitchen paper that I'm going to be using a lot on. I have my masking tape. It is important to tape. You're painting your piece of paper so you're sketch of watercolor paper to a board or to the table that will prevent it from buckling. Ah, when you wet the the paper which we will be doing a lot off, believe me. So I am now taping my sketch to a table here. A Z can see the sketch is kind of similar to what I have been showing. Up till now. We have the delicate curve of the neck. We have the parted lips and we have that delicate expression off the eyes on. I am no wetting the background with a large watercolor brush. So in pre wetting, there's no color in this. A tall it's all lead water because I am going to start creating un expressive background. The background will look very dark in the beginning, but actually it will really feed a lot because watercolor does that. It tends to feed a lot. It looks darker on the paper, and then it feeds a lot on. I'm going in with some colors that I will be using for the skin. So I have some purple here and we'll be using purple for the shadows. Not best exact purple, but it definitely used this purple, as when I mixed in one of my shadow tones, my second shadow tone I'm going in with with some red, which I used for the for the blush tones. I was splattering it over there. That's why covered the face with my hand, and I'm just letting the water color do its thing. And then I'm dabbing at it with some kitchen paper because it was looking a little bit too dark. Ah, I'm adding some yellow because there's some yellow in the skin tone. It looks a little bit yellow anyway. Well, it doesn't look yellow, but there is definitely summer element of yellow in the skin tone on. I'm just stabbing that into the water, letting it do its thing. Watercolor tends to create a kind of starry effect if you drop it into into a wet surface, and I really like that. So if you don't want a harsh point background just by doing this, you will obtain a kind of misty, foggy, very delicate her. Here's in the background, which will barely be able to see by the end, but it will still have that effect off softness to it rather than having yet that quite glaring, quite background. Here is my palate that we created earlier on them swimming and no so you can see what I'm going to be doing on the face. So I'm going into my flesh tone into the very light, flesh toned. I'm testing it on my watercolor paper on. I'm going to start painting the areas off the face that are lighter. I am just painting. Skin is really a matter of going over layers and layers, just creating thin layers of paint. And then at least this is my technique. Everyone has their own technique, and I'm in no way saying that this is the best technique to create a watercolor portrait. But it is definitely what works for me. So I just go in with the lightest possible color that I have, which is that very very water down flesh tone. Andi. I am spreading it almost all over the face. Andi, if it looks too dark, I just go in with that kitchen paper and I dab at it. Andi, I lifted. That is what it's called lifting the water color. So I am going in everywhere as you can see. And then I'm using the smaller brush to go in with a more saturated variation off that flesh tone on the nose on the tip of the north on I'm preserving that highlight. See what I did there to the right side of the nose. I preserve that little area off white, which is where the light shines off and I am going to keep that they're on. Definitely try not to lose it, because I really like the way highlights. Look on the tip of the North. I'm going to go over this soul many times, is going to look like extremely boring to you, but it's actually nice to see ah portrait coming alive like this. This the neck area is always darker because obviously that there's a shadow cast by the chin. And also the years here are darker. I am obviously using a reference photo. Not so much because my portrait looks a lot like my reference before. It actually doesn't. Ah, but because I need the reference photo to see where the shadows are. I can't just make that up or I could, but it wouldn't look as realistic as it does if I didn't wear it using the reference fault . I'm not showing it here because I don't really know what the copyright issues are, but I got it off Pinterest anyway. There's lots of reference in good reference images. You can get off Pinterest, so I'm going into the lips without more saturated version of my flesh tone. On day, I am going into the area around the eyes as well, on dabbing away with my kitchen picker, and I'm going to know sick again on into the inner corner, off the off the eyes and underneath the eyes on when I see you know, it's kind of getting out of control, that the water's going everywhere because remember, you know, it's kind of very wet of the stage. Then I just dabbed with my kitchen with my kitchen paper. It is so useful I'd warned you so just got to keep on building layers and layers up around the eyes under on those areas, which are all you know, which are darker. Um, Andi. Obviously, there's a shadow here on the right hand side of the face underneath the cheekbone, which we very often have a shadow underneath of cheekbone and on the side of the face on. Then I'm going around those that I area again, Andi adding more shadows using that flesh tone. There's nothing extra here. It's just a more saturated version of that of that flesh tone. So just using the same exact Orn, but with more or less water. According to the area. I'm just building up and building up the first layer off this watercolor painting on its what you should do. It's what you should do without worrying about making mistakes, because literally, door watercolor is very in a very unforgiving medium. That kitchen people helps a lot because if you go on dab at the paint while it's still wet , you will definitely be able to lift it. But you will, still believing some of that color behind, so you will still be building up those layers. I'm going in with that more saturated flesh color on the chin area because we have some shadow here and underneath the lips, Andi to the corner of the mouth under underneath the mouth and really the lips. And then I'm going into that cheek on. I think I have some of that blush toured in. There are very watered down version of that blush tone, and I'm going around the eyes because my, um, my reference photo had lots off like red around the eye area, red and brown and purple ish around the ire I area on. I'm just, you know, going on doing the same thing, adding even more color on yet creating this shadow on the right hand side of the face here , as you can see, it seems pretty bold and terrifying. But then again, when you go in with your kitchen paper, you can lift some lift that some of that color out, and you can blend the outlines with a clean water color brush, but just has water in it here and dabbing some of that blush color into the lip, which is wet, and then lifting it on. I'm doing the same thing on the cheek, the cheek is still wet. I'm putting that blush tone in there, and then I'm lifting it, and I'm doing the same thing on the other side and around the area and lifting it. But as you can see, there is color that is left behind even though we lift it. But it's just a matter of gradually creating layer upon layer. It's not a matter of patients. As I said, it's just a matter off. It's magic. Actually, it literally is a magic seen this character come to life. Andi, I'm going in with more of that blush tone on the nose, making sure to preserve that highlight on the tip of the nose. Andi, I'm going under around the bottom of the nostrils on creating that shadow on the side, off the nose. Obviously, Andi, in the in the years as well, also again on the bottom of the chin, Andi are on the nose again. It's just the same areas I keep on going back in to create more darkness on more warmth. I'm not using any cold skin tones here yet. I'm not using any over darker shadow tones in this first part of our painting. It I'm no creating some highlights on the lip area on the bottom lip. These are not white, but I've left the pink that I had put in earlier showing through and then I'm going in with more of that. Think of that blush tune above the I Ah, on the bottom eyelid over here, Andi On the north again, It's just the same areas as you can see. I'm just going over the same areas again and again, adding color on just plain it by year. Literally. I think it's what works best. Just played by year, See what works for you. But I think this is the technique that gives me more satisfaction. Here is a very saturated version of that flesh tone. On top of that left eye on. Ah, let's see what I'm doing here. I'm just assessing the painting. I think Andi Yeah, I'm adding some off that blush tone underneath the right eye on top of it, on also on the other side as well. Can you see this painting coming to life? I just love this part of the off the process so much so there's some shot up there near the hair line, so I'm going in with that. With that more saturated flesh tone, I'm going in with a blush tone over here and again around the area, the areas very often pretty dark, so it's very important to manage to convey that. So I'm trying to get some form of highlight on the bottom off the left eye. And then I'm going with that same color on the bottom, off the right eye as well. On the corner of lips on inside the year, we have shadows idea and underneath the chin, where the chin cast that shadow onto the neck. And then I'm blending it out with lots of water, blending it downwards with downward strokes and then dabbing away as usual, because that is my thing to dab dab with kitchen paper on them, creating more shadow near the hair line. Andi Ah, around the outer corner, off the left eye, Onda along the neck again on the year. I'm just checking with my reference image over and over again to make sure where those shadows are where the light is. And I'm just trying to You can use whatever colors you want, really, just as long as you get the levels of saturation right 6. 06 Painting the portrait 2: welcome back to the second part of this painting process. In the meanwhile, my portrait had dried, so I'm going in with a clean water color dipped in clear, clean water on them, just wet in the full of the face again. By the way, please, please share your works in progress in the project section of this class. I am really looking forward to seeing them, so I'm not going in without blush tone again in the lips. As I mentioned earlier, watercolor is a medium that really tends to dry so much later. So I am just going in with the same exact toe on blush tune that we used earlier in the same exact areas we covered earlier. And I'm just intensifying the color. So by now you should have got the hang of it. So just keep going into those areas the lips, the cheeks, the shadow areas around the nose and just keep adding that color with a lightly damp watercolor brush. So I'm going around the eye area here on the top of that cheek again. Andi, on the tip of the nose. Andi. Inside the years where there's usually a lot of shadow And then I'm outlining the fold in the top pilot right there on landing out that blush on the tip of the nose with a clean watercolor brush. Andi going into the cheek again. If you see any harsh lines, you can always go in with a clean watercolor brush on and, you know, blamed them out. You can usually do that if the car, if the color is not dry. Obviously, if the colors dry, that wouldn't work anymore. So I am adding more of that blush Tune into the lip trying to save those highlights. Andi, Um, just working, trying to achieve the intent, the level of intensity really want to get for this for this portrait. Working a bet all over the face it I tend to jump about all over the face and try to work on all different areas of the face at the same time. Um, now I think I am, uh, drying it because I have decided to go into more details. I'm using a heat gun here. If you don't have a heat gun, I hear hear Dr. Will work just just fine. But don't hold it too close. I'm going with a fine watercolor brush here, a very smaller one with a pointed tip on. I'm outlining the top rim off the I, and then I'm drying it with my heat gun. Andi Ah, I'm going, um, into the details of the nostrils here, adding a dark shadow tone to the inside of the nostrils. It are usually very dark. We don't tend to use black and water color because it is. It takes away from the softness off watercolor paintings so usually mix like purples and browns to achieve dark shadow tones. Or sometimes we use Payne's gray. I'm adding that dark shadow tone to the bottom off underneath the bottom of the lower lip on around the iris. I'm then going in again to, um, add that shadow tone to the fold off the upper island, the corners of the mouth and underneath the eye. Where we have sometimes we have no, all of us have it. But sometimes we have a full underneath our I into the sides. Off the mouth were, um, on either side of the teeth, on underneath the chin again, where that deep shadow is, and then I'm blending it out with my damp watercolor brush. So we like the stage of the off the portrait as well, because it's still not its kind of very ethereal, almost ghostly looking. Um, I'm now I'm mixing the eye color using two different kinds of blue and one green, and that I'm testing it on my paper, and I'm going into the iris and placing it in the iris Mickey sure to preserve that highlight in the eye, and then I'm drying it with my heat gun because if I went in with color on top of that wet color, we just spread all over the place and be a mess. So I'm creating that shadow underneath the the eyelid at the top of the iris and around the iris and creating the darker ring, which sometimes some kinds of eyes have. Then I'm going in with our dark shadow tone on Duh. Just keep putting in some details in the usual old areas, 1/4 of on going into the lower part of the upper lip as well. I'm back again in the north, strolls and, um and I'm just working on, you know, assessing. Ah, I'm creating the blush tool here again because it obviously run out of it. At this point, I'm going into the lips on intensifying that color, preserving those highlights and creating those tiny upward strokes on the top lip to get a night natural azi mentioned in our sketch part off this lesson. The out lane off the lip is not harsh. It is never like to clearly define so Be sure not to work from the out lane in words, but work from the center off the lip outwards, still adding more of that shadow. Turn around the teeth on the top of them, off the top up upper room of the eye on the bottom rim. In the years and then I'm adding the propels here with a mixture off dark blue. Andi. I think it's pains agree. Actually, If you don't have Payne's gray, you can make some back browns and purples. Or if you want to use black, you can use black by usually never used black. So now I mix in some golden color. I think it's Queen acted in gold for the hair on your just going with the first very pail layer off uniform. Pale layer off off pain for the hair and then you wait for it to dry and you're going after two. Get the details and here can be as detailed as you want. I don't usually have it too detailed. I'm going in with our first wash off Brown for the for the eyebrows. I will go in and add the single. Here's later on when that first layer has dried. And then I'm going in with our dark shadow color to create this more intense shadow on the right hand side of her face on the right side, or her nose underneath the bottom lip underneath the on the left side of the chin. And also on, I think I'm using the blush color here again on the tip of the nose, underneath the eyes and the lips. Andi. Yeah, I'm just working with a simple it everywhere. Now. I've got a darker color for the here, which could be anything any kind of brown anything that you want. If if you want to have the here this color, otherwise, just go in with a lighter color and then wait for it to dry and then go over it with a doctor color, not all over of course just in certain areas. So I'm intensifying some of the shadows. Want to be darker around the eyes on the nose underneath, Nathan, als where we have that little dip. I can't remember what they're anatomical name arbiters. If anyone knows, let me know in the comments section on on the inside of the eye where my reference image hard A very dark shadow. I'm still working, you know, on that shadow area on the right hand side of the face, underneath the chick born and on the outer side of the face and on the right hand side of the north, where the north cast that shadow on the cheek. And I'm drying everything with my heat gun because it's time to go in with, ah, more details. So I need my pain to be dry. Otherwise it would just spread all over the place. So I'm going into ah, the teeth on the eyeballs at the Fed earlier there. Never pure white. We have some shadows in there, too. I'm intensifying the shadows around the eyes with our dark shadow color, and I'm going in unpainted ing. Those here's on our eyebrows. Now you can spend as much time doing this as you want. You can just, you know, leave it very basic or you can spend like and I were drawing every single here. I'm going in with some more shadows, creating some more debt for some more details on Yeah, you just adding, What are the final touches? I would say at this point, creating the little lying between those teeth, drying everything with my heat gun again on then imagine more color to the iris, which was looking a little too light on a little more shadow with our shadow tone to the other side of the face onto the year. Keep checking your reference image. Keep checking where the shadows. I remember that. You know, we've got lots of colors and our faces greens, We've got blues, we've got purples, we've got yellows, so just don't take it for granted. You know what? What colors we have in our face when you're studying your palate? Ah, I'm not Dr Color to the here, because obviously here is not one color either. There's lots of colors in here, adding a darker shadow to the inner corner of the eyes and the outer corner of their eyes again underneath that chin, adding more here to the the eyebrows to the corner of the nose. And I'm going with the eyelashes. Remember, eyelashes or not straight? They're curved Onda. We don't have eyelashes on the very inner corner of our eyes. If we do, they're very, very short. So don't put them in or it would just look not very realistic. So I wouldn't advise you to do that. Some going with this dark color. I think it's a Payne's gray on, just adding, adding those details of stark of details. And I'm going in with us. Um ah, this is actually, um, I think it's called a brush pain. Anyway. It's some It's, um, Pete brush with truth that you can put water in. I have no water in the tube, but I am using it because it's a very stiff Well, it's not very stiff, but its stiffer than my other. What paintbrushes? And I'm just going into using it to add those. Here's give that impression off movement in the here. It didn't take me very long at all, like all of five minutes, literally to add to add the strands of here which give movement to the here and make it look more realistic. So just be very loose about it on. And don't be, too. Don't hesitate too much. Just go in and add the strokes with fine paint. Brush with a paint brush. It has a flying tip to it. Andi, Um, I also added some strands of here kind of outside the main massive here on over the face to give it a more windswept and interesting look. Onda really liked effect that created. I was very happy with that. So it's a very it's quite easy to do. I wouldn't it would definitely say this is not one of the hardest parts of the off this process. So I really like the way this is looking. I really like them. Um, I'm adding, with my jail pain, I'm adding the highlights. In case you've missed him, you can do this step with a gel pain. Um, but I just did it for the purpose of showing you 7. 07 Conclusions: our class is over. Thank you so much for joining me on this creative journey, as you can see have gone in and added a barren owl, which is a sign of strength above adversity and of wisdom on. I really like the way these two characters work together in this painting. I've also removed the masking tape and we've got some nice, clean, sharp edges to her painting. Be sure your paper is completely dry before you do this, or you might drip it. I'm looking forward to seeing as many projects as possible in the project section off this class. And I really hope that you've been able to take something away from this on. Hopefully I will see you again on another skill share class very soon in the future. In the meanwhile, keep painting on. Keep creating goodbye for no Fiona