Digital Painting: Paint like an Old Master with Photoshop and Procreate - Part 2 | Maurizio De Angelis | Skillshare

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Digital Painting: Paint like an Old Master with Photoshop and Procreate - Part 2

teacher avatar Maurizio De Angelis, Scientific Illustrator and 3D Modeller

Watch this class and thousands more

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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

21 Lessons (4h 13m)
    • 1. Course presentation

    • 2. Painting the Face and Beard - First Part

    • 3. Painting the Face and Beard - Second part

    • 4. Prepping for Blending

    • 5. Blending the Face and Beard

    • 6. Painting Additional Details

    • 7. Painting the Hair

    • 8. Painting the Hat

    • 9. Blending the Hair and Hat

    • 10. Painting Clothes - PART 1

    • 11. Painting Clothes - PART 2

    • 12. Blending Clothes

    • 13. Painting Hair Details

    • 14. Painting the Background

    • 15. Making Colour Adjustments

    • 16. Painting Jewels

    • 17. Adding Final Details

    • 18. Adding Noise

    • 19. Adding Texture

    • 20. Completing the Painting

    • 21. Conclusion and Recap

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About This Class

In this course - split into 2 parts - you will learn to paint and blend using Photoshop and Procreate and recreate an old masterpiece.

You’ll become confident in the full process of creating an image, from the background to the finer details.

If you’re looking to improve your drawing skills, understand painting techniques and master shading and blending methods, this is the course for you!

SECOND PART Course structure:

  • You will learn how to paint particular features including face, beard, hair, hat and clothes by understanding volumes and shading.

  • You will explore the brush settings to achieve a nice and smooth blending.

  • Lastly we’ll create the background, walk through some colour adjustments, and apply textures to the surface.


Resources available to download:

  1. Noise texture

  2. Canvas texture

By the end of the course you will have the knowledge to paint and blend like an Old Master, and to take that next step on your career path.

The painter in you is about to be awakened! Let's get started!

Meet Your Teacher

Teacher Profile Image

Maurizio De Angelis

Scientific Illustrator and 3D Modeller


Maurizio De Angelis was born in Rome and grew up surrounded by some of Europe’s most celebrated art and architecture.

It is little wonder that he went on to study Fine Art, specialising in traditional painting, at the Accademia delle Belle Arti in Rome and in Florence.

Living in London (UK) since 2004, he works as a 3D modeller and scientific illustrator, creating digital contents for the media and publishing industries.

His work has appeared in films, TV commercials, books and journals for a wide range of clients. 

Alongside his career as an illustrator, Maurizio continues to paint, taking private commissions for portraits using oil paint on wooden panels.


Wellcome Image Awards 2015


Sky Por... See full profile

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1. Course presentation: Hello, everyone. I'm working to paying them land with father shop and procreate with me. More Italy. Angie's Thank you so much for joining me. This course is designed to teach you out to paint and blend in for shop and procreate. You will also learn how to draw. So we're going to start by making an initial drawing off teacher, a technique that were used by the old masters like Rafael and chocolate heavy. You will also able to download my drawing if you only want to focus on the painting and blending process where she can see that that the divide between digital and traditional art isn't as big as you might think. It's only the tools that have changed, and in this course, you'll discover out to master different techniques in order to become a professional and confident artist. They're starting with a white background is never good practice. I'll teach you how to set up a document and create an all looking background similar to age paper before starting to paint will create our very own color library, and this includes a fantastic collection of 20 skin types that you can download. Then we'll dive into the painting and blending process. You will learn how to approach the figure, understand volumes, pain, light and shadows and then blending. You will learn how to transform this into these. Lastly, I'll show you out to finish the painting by acting. Final details would make some color adjustments and apply some tech shop to the surface for best results is important to watch all lectures and practice regularly. You can send your artwork for review. And if you have any questions of doubts that you want me to clarify, please being touched as we're going to learn the anti process step by step, keeping it simple and consistent. I'm confident that this course will give you the knowledge you need to paint and blend like an old master. In the next lecture. There's a quick overview off the tools and software I use. 2. Painting the Face and Beard - First Part: in this lesson, we're going to start painting are subject. I always start painting from the eyes. So first thing, I select the black color from the palette and I start from the pupil. So we do the perimeter fast and then we paying towards the inside. Now we switch color and we feel this empty space with this light at brown. So we're not going to paint the highlights at the moment. That would be done later on. As we know, working 100% capacity, you can build up the tones by painting strokes over strokes. In this way, seems there you are blending colors together when in fact you're not doing so specifically just painting at the moment. But because we've got the capacity set down, we can create some shading or radio. We can now pick the core neck Hala from the reference and we start painting the school Now , you might think the corner would be a sort of white, but found when you pick the color, you realize that is more like a graze your brownish color. We tried to paint following the shape and the im is actually a sphere, so we want to give this very court look, as you can see, the eye boys darker towards the bottom part of it and brighter towards the top near the highlight. Now we pick these color from the reference and you see that we just pick something really different from the Russian side. So we are picking a sort of brownish neutral color. We know picking the reddish Carla coming from the tear duct, and we stopped painting and create some shading. We paint the tear duct. The tear duct is the place where tears come out, and we should also concede that that the eyes are wet so that we always catch some highlight. And if we take a look at the reference, we see that the main highlight is on the iris and there's more highlights on the tear duct . Now on painting this dark line, which defines the shape of the I. So we're not going to pay in the eyelashes at this stage. We just want to make a rough version off them. Now we're just moving the reference and department on the side so I can paint the other I. So we approached these in the very same away. We start from the pupil and then move on to the ire. Ease doing the perimeter first, sort of. Ah, shading towards the inside. - No , I switch Carla and I make the brighter part off the iris. And as before, even if we are just painting at the moment, we are able to mix and blend colors together because capacity set too low value. The eyes are the most important part of the face, so it's good to spend some extra time on them because it takes nothing for face to look weird because of the eyes. Maybe we got the size wrong or your infection wrong. Eyes are not identical and they're not symmetrical, so we need to find a fine balance between the two. Now I'm painting the lower part of the corner, which is a little bit darker compared to the upper part. I want to keep in mind painting a sphere. No, I jump onto the other side of the core Now I can pick the color directly from the other side from the tear duct, so I'm sure they I'm picking the exactly the same color, and I want to sketch out the tear duct about blending the transition between the corner and the turn off tear duct area, which is reddish because of the presence of the capillaries and no making that area dark it . I want to mix this color a little bit, and now is before I'm going to define the upper eyelid with this dark colored so the air will be a mix between the header from the eyelashes and the cath shudder off the island. I want to ease out the shadow and also define the lower. I lied a little bit, so he's looking good already, and I think in going towards the right direction, and we should also consider that the iris is not a perfect circle. It's a little bit irregular. Little be squashed, and now we can start painting the skin. So I picked Meet town painting with the meat size brush, defining the up. I lied. As you can see, I can off scatter the colors here and there, and this is good because they help me create more dynamism. And now it's all about switching from one color to another, so we should have a look at the reference and say, OK, that's part if darker. So I make dark in my painting. It doesn't have to be like 100% replica off the original painting. It wouldn't make any sense doing something like that. But we want to make something similar now. I was rich again to a dark color. Well, im gonna make the upper. I lead a little bit darker, as you can see in the reference there Areas starker. I cannot feeling the empty spaces and trying to join these area together. And now, with dark color, I'm going to define the upper part of the islet. - So the island is basically a cover very fame surface days over the eyeball, they falls back when we open the eyes. Not finding the lower eyelid now is which color again. And with a bigger brush size, I'm starting to mix colors together. If we can play with your pass ity there with the brush size, we can get some interesting effect. And we know even blending at the moment. And I just switched to a lighter color and I'm going to define the shape a little bit more eyes, which color again on defining the shape off the lower I'll eat now painting the edge off the island. Normally, that part is a little bit more reddish in pinkish because of the presence off capital arisen very sensitive skin, - which color again and moved on to the other eyes we approached. These are in the very seven way. We start from a meat turn. We have a defining the up I did, and then we go only to be brize her. Now with the same color, we move onto the lower part of the eye. So, as we explored in the previous lecture is know about the brush here. I'm using a very simple airbrush not from really fence your core, but by effective for what we need to do as we did before. I'm going to use this brown color to define structure off the eyelids, painting these lines reach color again. I'm going to feel the empty spaces, and I'm now painting the darkest side of the eye. You can see in the reference there's the shadow on the left inside, as which color again, and make that part bright as you can see in the reference there air is quite bright. Now is which corner again and paying the shadow, which you can see in the reference. It's a bit of a shadow, probably coming from the eyelashes, defining the part under the eyebrow. - So is before it's which to hit dark color, and I want to define the falls off the skin and also the lower islet. I want to make it dark. And as we said before, I also want to keep in mind that these area is a little bits. Very cool now is which again, and go for a bright color. Paint the edge off the islet, painting with a reddish town and track to keep it consistent with the other. I reinforcing the area with this dark brown gonna pay in the line related to the eye leads and then also do some shadow. Now I create selection off the eyes. Copy and paste, and I moved the reference doors, deride and then moved. Delay it top so I can see it. I want to pay the forehead so the central part off the forehead is the most illuminated and doors their side. It gets darker. We start from the sort of quite bright color, the way I'm painting as we saw it in the previous lesson is a little bit random. Say I'm not following a one direction only is more about creating these dynamism by painting at different sort of angles. They're also playing with your Patties. Are there some strokes there? More present on the cambers, which some others are lighter. There were good. Worst decide. It gets darker and darker. We're now joining these colors together. And as you can see, I'm using almost all the colors range that we have for the skin for the forehead so you can see that towards the temple area is getting darker under the heart. And then he gets brighter in the space between the eyebrows. Then he gets a little bit darker on the side as well. And now we can join this two part to complete the forehead, who sort off defining the eyebrow so you can see that he, me the part of the four had the central power, the forward. It's brighter and on the sign it's getting dark, and this will give the impression that the head has got some volume is like a sphere away cylinder. Now we switch to right This you can see that around the eyebrows is a little beauty red. We can paint the area, and now we can start defining this side of the nose, which it seemed shade. It is a quite sharp contrast that's creating the shape off. The noise you can see there is getting a little bit darker in the space between the forehead and the nose itself. So there's a bit of his Loeb and in the area is getting darker. - As you can see, I don't focus on to one spot on Lee, but I like to paint here and then then probably come back to what I was doing before. So it's a bit of a back and forth, and now I'm reinforcing the dark part off the face with this brown, the capacity off the brush is set to low values, so I can slightly shade those areas, and now I'm defining what is called the chief line. So there's this very dark part off the face, and there's this sharp passage from Shadow to Light, which defines the cheek off Gina Dante 3. Painting the Face and Beard - Second part: So now I can move on to the nose and I start from the highlight in this case because again it gives me straightaway, an indication off the shape of the nose. The noise is another important feature. Health the faces you can imagine. It's a very volume magic shape, very well defined, and it's important that we able to use the various colors that we have in our palate to recreate this shape. Like for the forehead. The central part off the nose is more illuminated compared to the side which are darker, and the nose is also casting shadow so we can see the shadow from the nose towards the bottom, the in the nostrils and also unleaded beyond the side, near the corners, off the nose. I was reaching to a brush size and going to kind of feeling the empty spaces in defining the lower part, the bottom part of the nose, where the noster czar, we're not gonna pain the strong highlights at this stage. But it's good that we identify that right position. I'm now shading the nose for more. Trying to create more structure now again, is which into a darker color and kind or feeling this dark area and define the shape of the noise a little bit more. No pain. The other side and I want to do this and I want to join tonight. The lower part of the noise with the I and I can select the darkest color for the skiing. It's almost black, and we did the nostrils. And with this dark color, we can define the shape a little be more now we paying the skin, which is between the moustache, can create these cut. We do copy of pace and then I moved the layer on top so it becomes visible. I just want to move it a bit and then old. So re select the painting layer. Don't forget to re select the painting layer when you move stuff around. Otherwise you paint onto a different layer. And now with this bigger wish brush, want to define the side of the face? Do you see in the references quite dark we can't really perceive. Much is a quite defined shape for the cheekbone to quite sharp passage from light to dark, so you can see now that I'm using a bigger brush snow really point to uses more brush that we use for the eyes for these area. Now make the part under the eye. Let it be reddish. No feeling the empty spaces around the temple era and I was literally going down towards the moustache and a be it no good, particularly dark towards the site off the face and thought we can't perceive much off the area. So it is a bit of a transition between the scheme and then the beard, Basil Corbett by shadow, so there would be a fairly dark area. Now we create a new cat. I just moved to lay on top, then reorganized the palate, and I make sure every select the painting. Now we follow the remit off the face. So as you can see, that side of the cheek is sort of reddish, so we want to recreate the same effects. - And as you can see, I'm also painting in any direction. This is because I don't want to get something to polished or too precise. It's important now that we create noise and cows and now I can do the mouth. So I start from the up lip, which is always dark compared to the lower lip. So we have the caliph's food, nowhere lip and the upper lip and obviously you can mix and match them. And now I can paint the Louisville lip. The mouth is another very important feature off the face. If a mouth looks too big, goes lightly bent or flat your painting. We look weird, so the mouth is one of those elements that has to look right in terms of shape, position and orientation. It is quite an important element that we have to balance, especially the position we go now a little bit dark, and we want to better define the line related to the opening off the mouth. This line is very important. It defines the shape of the mouth and it's a sort off modulated line, ending into the mouth corners which are also very important to depict. So the bottom part off the lower lip and how we campaign this scheme, which is around the mouth that we have to Mustafa on top O is good to paint a little, be around it now , painting the scheme free from the hair, now refining the up lip and then at this lightly highlight to the lips, not too much. We just want to sketch this out, and I'm now kind of surrounding the mouth with some scheme that would be the base and the beard would be on top of it. And now I want to do the eyebrows. We not gonna paint hair by air at the moment. We just want to block out the area related to the eyebrow so we can pick the color straight from the reference and that we want to recreate the main shape. We're not going into details as yet. Same thing for the other side. The finding the shape off, the I proud and now, with a small a brush, we want to sketch out the hair, forming the eyebrows. We don't want to get into many details at this stage. We just want Teoh roughly design the I proud. We can sort off invert so we can select the skin color and then paint. And it seems that we painting the eyebrows when in fact repainting the scheme. It's probably a little bit difficult to spot what's going on on the screen because it's quite dark. Color it with the same principle we want to sketch out the eyelashes. And now I can create a selection for the beard so we can make a selection free fingers down , copy and paste that we moved the reference on top. So he gets on top off the other painting layers. I can also and raise the part of the reference that we don't need. So we have more space, and then we can call delayer, be it so for the beard were five colors We can start from quite dark brown, and we can feel thes side of the face, which is completely in the dark. I just want to move the drooling on top. I re select the painting and I justify in this split which divides the beard off Jean. As you can see, I'm using a quite big brush because at the moment I'm not interested in making any leaders are only creating a nice base. But doing so, I'm going to build up the volume for the beard I'm now writing. These are the color that helps me create volume. - So we're just playing with this very dark color is like that. We are painting the undercoat and then we lie to colors. We gonna paint the superficial hair now just approach the moustache, and I'd reduce the brush size so I can be a little bit more descriptive. And again, I want to identify the direction off the beard rather than getting into leaders at this stage. So I paint the other side of the moustache, - and now, with the same brush and same color, I'm going to sketch How the beard, the head there on the side of the face. We cannot perceive much around the area, but it's good to be consistent and do the same thing. Apply the same sort of treatment and now as which to realize her color. And again, I want to define the movement in the direction off the hair. So the head was the Boston part of the beer gets Kailua and I was which to the lightest color that we have for the beers I can clean up with the razor tour. We now create a new layer. We place it underneath the beards and that we can paint the empty spaces we feeling the empty spaces. But we also add some shudder effect so we can say that we created a rough version off the beard. But that's a good base and in the following lessons we will aren't additional details and we refine the beard by adding singular hair. But before the indebtedness, we need to blend everything we have done in this lesson, and this is what we're going to do in the next chapter. 4. Prepping for Blending: in this lesson. We going to prepare the artwork for the blending process so we can open the document latest fashion of the painting and also open a pre recession off the painting where we can get the path. So you who switched to the path pallet, we can select the path and pressing shift. We can drag and drop into our document, so that would be in the exact same position. If we do so so we can close it down. I was which to the move to We can delete the off channel with Only that. That's the pallet we can get. A best of Asian off the pallet is we Skelly. Up and down a few times got lost resolution lost quality again with ships elected, you drag and drop, and you can believe these deal version of the palate and also closed these. Now you have the powerful you have to pilot. Now you have a serious off cats that we use in procreate, but we can delete them as we don't need them anymore. That's the beard. It's another level for the beard. That's the painting we want to duplicate now. The painting layer so we have two copies of A. We select them both how we press comment e or to merge layers, and you match them together into one layer. Now, if you create a new layer and we place it underneath, we can switch to a brighter kala can be any. Can I choose? You choose red. And if we paint underneath the paintings and we can see that some spots that are still visible in our painting So that means that we didn't paint those areas during the painting phase, so we moved the red layer underneath the background. So what we do is to get the path we switch to the Black Arrow, we select the path off the face and we create selection. We now press common J Control J, which copies on a new layer only what is selected. Then we clipping Must this layer with the one on the nave by pressing common old G. So now, if we put the red layer back to his previous position, we don't see any red color coming through. And that means that there are painting is 100% or Paige so we can lead the red layer and then we can merge the clipping mask. So the document is basically done. I'm going to create a nuke out for the next lecture. So I create a selection I copy and paste. And then I move this new cut on top of this stuck next to our painting in the next lecture . We're going to blend all of these in order to get something nice is moved. 5. Blending the Face and Beard: in this lesson. We're going to blend what we painted so far. We select the mixer brush toe. We have the same setting as before we select the painting layer. We're gonna start from the from the right eye. So this process is not do this similar from what we have done before. We want to brush gently over the painting and as we have low settings, the changes will be many more. So you have to pass over and over the same spot for many times for the effect to take place . And that's good, because you are moving control off what you're doing, relying a stage now that we want to pay in this morning. Adidas. So what we want to do here is to blend the scheme and the eyebrows area which is represented by this dark brown shape. So we want to blend the connection between the scheme and the eyebrows. Now we want to blend the temple area and the upper parts off the eyebrow. We're blending this area off the nose. You can decide to pay him from a certain distance. So if you zoom out, you able to see the aural subject and you keep on painting. It's like when painters stepped back from the easel and they take another look at the composition, so you don't get too obsessed about the small details. But you also be sure that the overall shape works in terms of volume and consistency. - Now we want to blend the chick line. You can see that there's a quite pronounced shadow in the reference, and that shadow is basically defying the actual cheek Now. We just wanted to making nights and smooth transition, we blending the base. What's underneath the beard? Another important part of this painting would be the beard. So we blend E. Yeah, we quite losing the Mormons now moving today, and noise the nose is you can see is a very defined feature. Off the face is very plastic and volumetric, so it's quite important that we get the shape right that the not streams. They are quite dark, while the tip off the noises normally lit as you catch some highlights, blend this as you can see. Also I sometimes I paying from left to right or right to left, and they helped me mix the color even more, not just their ethically, but also horizontally is always good. We started to get something interesting in terms off shading. You can decrease the size of the brush and we have to be no to rough around his air where we want to keep it clean. You see, you can see the background, the great background and that parties, for the highlight we're going to are the highlight. Later on mixing the colors off the corner, trying to get something to smooth, he is out the part that goes towards the tear duct and never would move on to the other side of the corner again, with no painting any eyelashes at the moment. We just made the base nice base where we can out develops later on. Now we do the up. I lied, and we can now move on to the left eye on the right hand side of the screen. We do exactly the same as before we start blending and mixing the colors off the up. I lied. We can go towards the highbrows and kind of join mixing and blending this colors so they get into each other so jumpy in there so you don't focus too much on one spot. You do one spot that you move a band and you come back there. Now we move on to the lower islet with marching. The margins always be reddish compared to the other part of the skin. Now we blend cornea with the iris. The contact shatters between the core now and the margin off the I. And then I pin the diaries and the surrounding area. So I'm not gonna brush the area related to the highlight because I haven't painted it yet. As we did before. We can zoom out campaigned. So we are ensuring that big area are consistent with the volume. Go back to these I just because I don't want to focus too much on the other eyes. I just need a distraction to fix these. And then I come back on the other side, do the side of the nose, which is a little bit dark compared to the top part of the news. You don't want to paint the marching off the face because you would paint also the backgrounds dumb pains along the margin with the mixer brush door. We're going to approach that margin with different or the black, too. I increased the brush size and now I move around. Did my off area to actually thesis part would be mainly covered by the beard, but we need to paint these anyway, so we can then pain the beard on top. So I'm not doing the mouth doing lower lip. The mouth is another very important part of the face. You want to get absolutely the shape correct. Otherwise, your painting would look weird so you can see that the up leap is dark is generally always darker, you know, because they lower lip, catch the life from the top, while the upper lip is kind off inclined. I mix the canners off the lips, kind of blending those colors with the skin colors very gently. Nothing is too drastic or too evident or too strong. If you pass over and away on order, you can really get what you want. The level of realism, the level of thes hells and the level of blending, you know, is like 40 50 times over the same spot, and we're almost ready to paint to be it. We just want to blend this very dark part. Right now. We make a cut off the beard, so we selected layer with the copy and pastes common. See Common V or control CIA. Contrave. We move the cat on top off. What we doing? We showed the beard layer. You can merge down. You can do these or selecting comment E or Control E. And now that we have the beard layers selected, who is rich to the mixer brush toe? How we start blending the beard again. We're simple or layers on in the option, so it doesn't really matter where you paint. It makes sense to pay on the right, Neha. Now we blending these strikes, so the goal in this lesson is to get like a nice base for the beard. So we are after a silky fluffy beard, and we can always add additional adidas later on in the stage. But for the time being, we want to mix all of these colors together and get a nice and floor nice beard. And then it's also good here, especially for the beard and for the hair later on to follow the direction off the beard when you blend, it is not much about left and right means more following the the floor, beer, the direction of it. You can actually start seeing that is looking good already. Now, when you penned, you always have to go by your feeling. You know about your gods and you see how this is nice? Yeah, This is nice. I like it otherwise, is that No, no, no. That convinced by these area, you know, Then you fix it. You wanna blend This had our under the lip and then mix the car layers between the movie stars and skiing. He wanted to ease out the passage between these two colors thes two towns and that basically done. We use the mixer, brush toe, blend the face and the beard. And we have now a quite nice base for additional layers off details and paintings. And now that everything has been blended, we are ready to add additional factual details in the next lecture. 6. Painting Additional Details: So now that we are in to procreate, we can rename this layer into painting. We create new layer that we can move the palate to be in a more convenient place. And he have just elected one of the meat home brown. And I'm going to start detailing the left eye area. So our objective throughout this process is to take a closer look at the reference and then try to replicate. What we see here, for example, is dark. So I'm going to describe this area with dark color. So generally speaking, the strikes here a shorter offender and it's making more time to pain because we are things , more details. So it's like that we are reducing the area of interest, that we should focus on the change of tones. So we try to understand these smaller diesels, the lights and shadows that are all between the folds and other feature off the face, right. So I jump onto the nose. I do now the side of the noise and reach the eye area. I do a little bit up. They're not Struse and bring forcing the shadows. There are around the tip of the nose and I can now switch to a reddish kala and stop painting the I area and reddish tones have found the cheek. So around the eyes or in sensitive areas and from the history of art, there are paintings with subjects with evident red sheikhs that it was fairly Harmon to represent these faces in that manner, especially women. I'm now pending the left hand side of the face, the cheekbone, the cheek area and you see in the reference that area is quite red Now I moved the reference undecided at the bit to have more space, and I keep painting. If you take a look at the reference, you can see that the area is kind of a brownish reddish color. So we creating this base and then we switch. Carla, can we make it dark? And we're trying to define the shadows that you can see on the left hand side. On the reference, you see that all of that part is in the shade. I'm going to describe the nose a little bit more, and then I move on to the I. I create the Shabir, the cast shadow from the eye itself and from the nose Now we paint the bridge, which is the connection between the had forehead and the nose. I can move this one. Don't forget to re select the painting layer and not painting onto another layer. That's a fairly common mistake because he happens that you select one layer, for instance, in this case that I moved the reference and then I forget to recently the painting lady and I start painting on the reference layer. So that's a common mistake. And now I'm painting the temple area and the area related to the I. So we're going to make that side of the face dark, huh? Going down towards the cheek. So we now switch to the red color that we use before for the other side of the face. And we actually do the same things that we are these color around the cheek area and we sought off making a transition between this very dark brown and this very light eyebrows meet. I would be this quite reddish color so you can go back here and there few needs and now we as which again, color and we choose a meat brown. So we implement these color into our painting now shading the side of the eye which is related to the cheekbone. I do a little bit of the forehead, not too much. But you see there areas kind of round. So I put the reference clothes have because I want to focus more on the I so I can take at the core now color, go a little B price out and you see that I'm I am painting the Cornell so that the white part of the eye I want to make it more roundish So I do a little bit off. The highlights are with the same color. I can detail the bright had part off the face. It doesn't matter days. Actually, the cornea color just moved this one on the side and I do the same thing for the other eyes , the same color. So it's consistent. I want to confer a spherical look. I can't no define better the highlight and again with the corner color, I can define a little bit off the lives off the face. Now I'm adding some light. Teoh the nose and as you can see, a soon as you put some lights into your painting the painting gets more life vibrates more . It looks more riel. I'm gonna out some light under the eye. Wouldn't you define a little bit off the area around the tear duct? You don't want to use it too much. Otherwise you would flatten the image. But again, you can use it here and there. Now acting the same color onder the right I slowly going down towards the moustache. We moved the reference again switched back to our layer and we continue detailing process And now we can move around the mouth area. We add in some lights to the corner, off the mouth and to the lips now reinforcing the forehand. So now you create a new layer removed the cats that we created before for the beard I moved the palate being a more convenient spot and we can start doing the same for the beard. So we select one of the meat Tony brown and we start dealing. If I switch now to a darker color, members gonna be more visible. So how would this dark color? I'm going to define the sort off separation between the moustache and a beard. You see, this is this is sort off a split to this. Also, this part of the beer which splits basically the same process that we did previously. But now we using shorter than finest trucks. And now we can define the moose stache a little bit. And the lower part of the beer would be darker as he turns as he rounds. Now do the other part of the moose stache dealing with this dark brown If we now which to its lively Bryce, her color, we just want to add this additional town. And now we can go lies how again? And we're going to define the superficial hair which are obviously prize her compared to the one in the background. So we are getting some lights here and there. We defined the structure. You can see that it gets a bit can only now you can directly pick the color from the reference. As you can see, there are some very yellow hair. We cannot them towards the upper part where the lips are with the mouth is and now with the dark color we're going to define this side of the face. So if you see these area in the reference you can't see much because it's very dark. But even if we can't see much, we know that the beard will be there. So we painted anyway. So now we are back in for a shop. We show the reference That's the beard. That's the painting toe weekends, which to the mixer brush toe, we increase the brush size. I'm gonna start blending these area so you go gently over the painting. You don't want a strong effect. You don't want to have a to polish sir face so you can still see. There's not just a perfect surface. You can still see something going on there, and this is what you want. You can zoom out and pain from a second distance so you don't focus too much on the details . We blend this differences in angles between the forehead and denies, and then we move on to the temple area head forehead area. I just wanna smooth out these hair, really to be more, and then I move on to the left inside of the face and then do the eye area they want. You can't follow the orientation off the shape, so if he's round is good that you go around as well. If it's flat, it's good that you go flocked as I did before for the painting. I jumped here and there also because I don't want to fuckers on one spot in particular. So I want to be one spot that I move and I do another spot and I come back there so they else me create more variations, and I was moved to call. Now he's out these line a bit too strong, and then I'm gonna work on these transition. Here you see a goodly to be sick and create some sort of different shading. This, too, is very powerful. To be honest, my workflow is always pained in procreate, if I can, so I can actually see the screen. And it's fantastic and I really like it. But then, when he comes to blending, I always bring my stuff into father shop, and I used the mixer brush door. I believe that the blending tools off appropriate are amazing. I just prefer using the mixer brush tool. But that's my personal preference, something. I was moving out the side of the nose, so one side is quite dark and the other side that's quite bright. So as you can see, we mixing this colors together and we are achieving a nice move rendering, you know, quite nice move shading. And this is what we after. But we do the nose a little bit, is out the knows corner, - and then we jump onto the other side and we're going to blend all of this strikes here. Okay, we put the reference closer. We can focus more on this. I now he's moving out all of those drugs, and you see that we're getting something quite quite nice and quite attractive. We get in something very Renee, since in terms of color and shading and this is what we after, So we should be quite glad with that. That was moving the highlights. I live in a bet that we're going to reinforce the highlights with the even brighter calla. This is just the base. This is just the baseball. Everything we're gonna aren't d That's a metal gonna eyelashes and eyebrows and all of this splash of light. And we are now to paint the beard. But before the beer would do this skin here. So the mouth is quiet an important part off the painting. So we should focus on the mouth and on the eyes a little bit more compared to other parts of the painting. Because it takes nothing for a painting to look with, because maybe the mouth is wrong is no orientated in the right direction or in it is not in the right place. The mouth and the eyes are quite important feature, and so we should spend some extra time on them. Now we're blending the side of the face. And are we start another quite big part of this painting, which is the beard off Jean. It's a quite nice full beard, so we want to get this sort of a silky flat filler. We want to get the volume off the beard, right? As well as having the small details. So we start by making the base, which is what we're doing now and then we paying the hair on top. We blend the split, which is quite darkest, you see in the reference, now the part under the lips. Now you can merge this layers by selecting them and do merchant layers, or you can select them and do common or control e. So now you have to be it. And the phase as 1 may only again. You don't want to go towards the margin off the painting. Otherwise you would paint the background. And again, this is not what you want. No. We can ease out this line and blend all of these dark side of the face. So again, this for the face, is a bit random. So you go up and down, left, rise, you go One spot. Then you come back and you treat your subject overall is not just one spot, and then you move and then you come back and you do it again and then you do something else . And I think it's done with this process. So we blended all the leaders that we created previously. And in the next lecture, we're going to pay in the hat, the hat and the clubs 7. Painting the Hair: Okay. This lesson we're going to pay in the hair off, Sean. So we can rename this into painting. Can let that to lead that, create a new layer and rename it into hat. So we can now place the palate somewhere as the hair just black. We can pick the color directly from the reference picture. There's no need to create a palette for this, and we start painting. These have okay, so you don't have to follow exactly what I'm doing that many ways to approach a painting. So for me, I found it very helpful to follow the floor off the hair by making a series of strikes one after the other, until they create the shape that I want. Even when I make the perimeters off the hat, I don't rockin genius line, but more modulated line. So one line is created by many lines, and this is very helpful because you are exploring the shape. So you finding the perfect flow, the pact for dynamism. So I'm now defining the side of the face so you can see that somehow crossing each other, that different flows and different movements. So now we want to create a selection. Oops! We can copy and paste. And then what? We can move the reference towards our hair. That was which Back to our layer. And we keep on painting. So now we, on the way down, we want to slowly assessed the position off the hand towards that part. It gets Kanye now. We approached the beard, which is a transition between the hair and the beard itself. You can see that the Moose Taj in the front part of the bid are more reddish in color against this part which is quite dark, almost black. - Can we move towards the top? I was literally feeling the empty spaces. Some people would question why I wouldn't want it to feel then tie area with just one click . And this is because again, I want to investigate the shape. I want to better understand the dynamism off the hair. So we are not going to paying the singular head that come out from the main months. At the moment, that would be done in a second face. So we're now approaching the fringe. I don't really sure this rush is perfect for this. Very thin had are against the foreheads. We're going to use this brush anyway. And then if if I'm not happy with that, I'm gonna raise it and use another one. Don't be afraid to do something. Raise it and do it again. Same processes before trying to understand what's the floor off the hand here. Now we hide the reference, and we can move on to the other side, and we do exactly the same. We define the Arab, which is between the hot and the forehead, how we define the volume and shape off this hat again. We want to understand the main floor, the main direction. We can create a new cat with which to this election toe, three fingers down, copy and paste. And that would move the reference close her. And now we continue painting the hat, always thinking about the way they move down to flow down. - We starting these part off the head so we can identify a frontal part which is on top off there, and that there's one part that goes behind it so we can feel this area. It's not much happening there. Now we can hide the droving, and now we move on to the fringe. So we use a smaller brush size that we paying this area as mentioned before. I'm not entirely sure this is the right brush for making this part, but we can do it any way we can try and we don't like it. We can raise it and redo it again. So we follow the drawing asbestos we can. We want to pain from the base to the tip so the brush can taper off towards the tip. Now we hide the reference We hadn't create a little bit of the transition between the hair on the side of the face. We can do the same for the beard is moving out the transition between the beard and the face. And now make the curly huh? Against the background. I think I want to redo the fringe and no entirely happy about the way looks so I can create selection. Three fingers down, copy and paste. We moved the reference on top of our layers and we place it next to our hey can now raise the reference a little bit. We select the painting leg and we can also delete what we painted before, Not drama. So we showed the drawing and we create a new layer always which to a different brush which is the technical pen can try some strikes to the technical pen is just better for this job is cleaner is thinner. So we now trying to recreate the fringe stuffed in this time from the tips to the base of the hat. And this is because of this start the brush tapers off so you can see that this brush is more convincing that the airbrush so we can move or so on to the other side. We hide the drawing so we can see better so we can pick a shade of gray from the reference that we want to out some highlights. Not too much, just a little bit. So we can actually get brighter. We can go a little bit darker and create some additional high night my feet ling process and now we can at some high night also along the hair on the side again. These details are not present in the original painting, but we want to add this anyway. So we want to create some dynamism in terms of color and in terms of movement and that's done, I think that could be enough for the base. In the next lesson, we're going to paint the hut. 8. Painting the Hat: in this lesson, We going to pay the hat so we create a new layer and rename it into hot. So we double check that we select in the airbrush. We can pick the colors directly from the reference as we haven't created the pilot for heart. So this piece is going to be fairly easy in a way that we are using Just a couple of colors , obviously the black in a light, a town of black. They're gonna start making the perimeter first. You can approach these areas you like. Really? I mean, again, it's fairly easy. So I will do the every mesa. I'm gonna hide the hair and the face so I can clearly see I can back to see what I'm doing . So I've done the perimeter. I don't like to feel entirely the area you can do if you want. I do prefer painting rather than filling with color. So I'm going to kind of quickly color these part of the heart. Now I can select one off the lies her gray, and I'm gonna start painting with this color. I want to create some shades and I just don't want to pay the entire heart in black. I'm gonna add the's additional Carla Seconds. Reach back to Black. I'm gonna start merging these two colors together. - If you now lowered down the rapacity off the brush and pick the great color, you can start shading and mixing and blending. So adding pain with the low opacity brush can give you the impression that you actually blending colors together. But you actually just painting at the moment. Now we switch to a black color, we're gonna fade in. I live a bit. So this part off them heart is called the brim. I think we want to move the highlights towards the top margin off the heart because departure we actually painting is flat. So we have the edge, which is more illuminated. And now we can break the uniformity off these lighter gray. We're going to create some noise breaking in that sense. Now we create a new layer, we place it underneath the brim. So underneath will just painted was reached to a black color, and then we're gonna start feeling in this area toe. We can't do the same as before. We can draw the perimeter fast, or you can actually do in your own way. I mean, we just need to feel dizzy aRer with black. And now we need the lower part off the hat. We follow the shape of the hair. We're gonna paying the jewels letter on towards the end of the paintings that we know thinking about them now. Now he's which, back to our heart. And we cannot Some light gray which back and again I want to interrupt, sir, Face related to the light gray. And you see that I'm kind of brushing in this way. I want to create something like a tech show. You know what to create. Like a noise, sir Face. Now, if I show back their hair and the face the hut sets into the scene better, they're gonna art some light grey towards the top part off the hearts and again doing the same thing for this part. And I think that's done. The base off hat is done, and we are moving on to the clubs, which would be a quite big part of this painting 9. Blending the Hair and Hat: Okay, now that we are in for the shop, we are ready to blend the heart, the hair and the clothes. So we select the hair layer always which to the mixer brush toe, having them exactly the same set things used before. So we just want to blend the hair. So we go very gently over strokes and we blend this bride her hair with this dark mass. So now we can make a cut off the hair so we make a selection than we copy and paste common C command V. And there we move the reference on top of the other layer and we keep blending that we blend gently. Also, these had out near the tempore near the cheek. Barlun we want to gently blend and soft in his area said no. We are onto the other side within the same thing. We blend what we created before You don't want to blend towards the tips. Otherwise you would paint the background also and this is something that we don't want. Now that we show the addition of details that we did previously, we can also blend them in again because the settings for this brush upset very low. The effect is sub toe, so you need to pass over and over the same spot many times for the brush to make a evident effect, Toby now blend near the fringe that you can do it towards the base, but not towards the tips. And here on the other side as well, we blend the strokes when you get used to the mix of brush to is very easy to control the level off blending. It's quite powerful brush again, blending these area a little bit Now you can paint also from far. So you have a noble look off, then tight subject. So you cannot just battle so you can control the image better. Okay, so we can delete that cut, hide the heart, select this to hair layers and we can merge them doing common e. Now we show back then heart. We create a new layer, and we're gonna quickly fix these. And now we start blending the heart. So we have two colors only here it's black and it's a dark gray and we are basically mixing these two colors together. As you can see, I go slightly erratic. A grab it random. And that's because I want to scatter the light over the surface off the hat, giving some sort off an irregular look. It is good to create a beer of caress. It's not like the skin, which is nice and smooth, is there's, um, or a random and more in a regular pattern. Let's say you can knows which brush and go for a sponge that helps create more picture. But, I mean, there's no centuries know that visible can be effective, you know, adding some extra noise. And we can also merge these two layers together, and we can rename it into hot these merge together and rename it into hair we can renaming to face rather than painting. And thats done so we blended the hair and we also blended the hat, and it's now time for blending the clothes 10. Painting Clothes - PART 1: okay, in this lesson, we going to paint the cloth off subject. Working on the speeds of clove is going to be a very large part of the project. You wouldn't probably say it, but it's going to be a little bit challenging and time consuming. It is quite vast, but again, and as always, we're going to approach these with simplicity, and we're gonna break down or the structure off the cloves. And we approached each in the real governments in a very simple way in a very straightforward way. So don't be scared. So we're going to start from the wreck clove from the wreck dress. So I picked the darkest red from the palate, and I just double check. I'm on the correct layer and I start painting. I'm now defining and trying to pay only the darkest area off red, so they're going to be every related to shadows and contact. Shadows toe Fuld's increases, so no painting the shadow, the cast shadow off the flap. So obviously going to reinforce all of this area later on with the dark color. I just want to move the pilot in a convenient place and I switch back to the correct layer . So first of all, you want to define the darkest part off the entire club. You don't need to get into many of these that you just want to identify, which are is what? So you can see that this piece of government has got some sort of picture You can perceive the materials being alu shiny and reflective. It could be probably silk when you're the precious textile as we saw it previously, John Donville was a very prominent diplomat and also coming from an important, noble family. So it shouldn't be that surprised that hence will bind wanted to depict him with such magnificent outfit? No, just moved the reference on the side now doing the margin off the cloth and then we see the shadow that is coming from the shorter towards the chest. You can actually see a Grady int off color that goes from black to dark red, and then he goes in front, getting lighter and lighter. And this effect gives a impression of volume and impression off perspective also, and now is which color and we switched to the second darkest red on the palate and we paint these as you can see, are also playing a little bit with the press shelf, the tablet. And now again, it's better. Yes, before she identify where these lies her red could be, and obviously it would be next to the darkest Now is which again, I just kicked the further color because I want to go lie test right away. As you can see on the referent debt part that I am painting is brighter, it makes sense to use the right color. Moved the reference a little bit closer so I can better concentrate on this part off the painting. A nice which color again? We're not gonna pain in the neck chain for this particular project. It's a bit too fiddling. XYZ be too descriptive. We can skip that part now is which to a of the brightest color for this range and are playing a little bit with the pressure and try to recreate what I can see. Looking at the reference, just wanna movie a little bit on the side, and now I'm going to use this color for the chest area. It's a quite bright flat color, - and I was which color again and trying to blend these two colors that I just created is you can see I'm painting in any direction. This is good because you want to create some day enemies if you don't want your painting to look too perfect to polish and to digital in that way, so you ain't in any direction using different sort of pressure. So you create some dynamism. So is which, to the dark ran again and we're going to paint the area off the clothes, which is behind the neck chain. I can move now the reference, and I scale it down. I switch back to the painting layer. Don't forget to switch back. Otherwise, once you select the reference, you're going to paint on the reference layer, and this is something that you don't want. And there are enjoining the top part with the lower part off the dress so you can see from the shoulder to the chest. There are all the colors. We start from the very dark and we're going down towards the brighter colors and that we're going to paint these area and also that way we are defining the white piece off love which is coming out from the wreck dress a point. That must be some cuts there. I'm expanding these quite dark red area. - I moved the reference again to have a close as a weekend concentrate now on the flaps and how we approached these in the same way. Don't escape. If you think that something can be a little bit Triki or a little bit difficult to do, you have to approach these breaking down their structure off what you're doing. So you identify the dark area and then you move up towards the bright area and it doesn't matter if you don't see your result already, it's important to place the right color in the right spot. And then throughout the blending process, everything will make sense. Because of the flaps, there are many more little deters. We have to decrease the brought size and be more precise in a way, - sir , as I was saying before, he looks a bit confusing at the moment, but we know that we putting colors in the right place. So when we use the mix of brush to win for a shop or any other marching to, we can be procreate or any other software, we'll get a nice and smooth resort of nice things. Move shading so everything it will make more sense. It would be smoother, nicer. So now it's a bit rough, but that's okay for the time being and their work out. This little flap, I moved the pilot away because I want to paint this additional piece, can delete that and moved the reference and little B. Also select one of the dark red. I want to paint the margin off the dress, which is around the neck and again. Kind of breaking, sir. Face country immunity. Very rough, Very sketchy. We know that we doing the right thing. We are in control of our composition, but now I just both capacity and brush size quickly paint this area, and now I have some lies have read. In order to define this piece of clothes, they are turning from the neck to the chest 11. Painting Clothes - PART 2: and now we done with the red clothes. We create a new layer, and we are ready to paint this white piece off club. We start from the darkest off the white, which is in fact a kind of neutral, brownish grey age color. We're going to paint defaults first, the shadows that coming from the Fords, we start from the darkest of we go on the way up to the lightest color. We now switch Teoh bright her color and we paint. I'm going to hide the wreck close so I can concentrate on Lee on these. Otherwise, it gets a bit confusing. So I draw the perimeter and I tried to create the shape off this piece of club that fall you. So for this bit of clothes, we just using a few colors as the range is quite limited. So it's about three or four colors are more than enough for the scripting these area, and then we take a quite dark color that is actually was taken from the neck area. Are we going to back to define the main falls off the club? We roughly defined these additional details, and I think that's, uh, done that can be enough can now move on to the other peace. I place the reference in a convenient spot, and I do exactly the same. So I start from a meat town. I'm going to define the darker areas in reality, these bits on the original painting a much wider, but I'm making them a little bit darker, so it's more visible. You can bet receive the structure now, switch color and do as before. So you can see is a bit fiddling so you can opt for big brush size if you want, but I cannot help you. Taking my time is I don't like to be in the rush when I paint. So we should also conceded that if we had to do these with traditional millions, it would take much longer than these. And I also encourage you not to be just a digital artist. It's good that you pay. Intend is good day. You draw with traditional mediums were especially drawing. So if you're young and you have the time because you're starting or you're not too busy or you remember, you're not working yet, spend your time. Drawing on paper is not just about the digital art, but he's also being able to use the pencil. Use the pan or the mark as if you like, and then you can obviously learnt out of pain to watercolor. Or will using the critic pains or even the oil pains. - So like before I reinforced the margins off this piece of clothes and this is basically don that be enough? Now I show the red clover, and, as you can see, that some empty areas near the white bids a select direct clothes layer and I painting in not do the same for the other side. There's some parts of the painting that were done in a kind off our thes fine brushing. Now add again, this kind off small brushing color now high the reference. No, I'm moved the reference a little bit, and I'm not going to pay these fads. Why Piece of club? We didn't paint before, so we're going to approach this fairly quickly again. We can hide the wreck loaf layer so we can see a better, and we can select the colors directly from the other part of the painting that we've done before and then, with a dark color exactly the same as before. We're going to define the main falls, and then we aren't a bit off light. We know Show Beck. The red clothes can move away the reference, and we can actually delete the lower part of this reference. As we now want to concentrate on the neck area. I think it's called the color. Okay, so we start from the meat time we're approaching these as we approached the red clothes. So it's starting from a quite dark on the back. And then as soon as we move towards the foreground, it gets brighter and brighter. Quickly. Paint these, as I felt got to do it before. So I switch layer, select alive her grey or brown, and we quickly block out this part. As you can see, there's lots of going on on that piece of clothes, lots of embroidery and D dance and ornaments, and we're gonna aren't these details later on 90 stage. So for the time being, we want to create the main volume, the main shape, putting down the right colors in the right spot. There we go underneath the beard, which would be quite dark there, and we're starting to go lies, huh? And you want to sketch out a little? Be the main ornaments, just very lose. So it's reached Now back to the red clothes again. I want to better paint the back part and this carve which it was kind of missed Before you see that this club is turning behind the shorter and then aren't this highlight and you can perceive it better now, switching Teoh this layer again and odd, some light to the edge off the cloth and then we paint the inside which is quite dark, then moved to the outside and make that part darker and also make under the beard the clothes a little bit darker Now hide the reference and I can't see days going to the right direction. Now I create a new layer. I take the red clove blazing underneath the painting also the white bits. If I select layer and movie up. So now I pick the black color directly from the hair we're going to pay in this select stripped down next to the red clothes. If you take a look at the entire painting, you see that this two strips belong to a an enormous dress that Sean Gadahn will has. We create that sort of perimeter first, and then I can increase the brush. Size is again not much happening along the strips. We just paying them in black. So now quickly switch back to the red clove and I realized that I didn't paint these area and I can go back Teoh the Black Strip and I quickly do these again, very loose, very quick. Now I just want to change the color slightly because, as we've done for the hat, we don't like to create something with one color only is always good to have at least two of them. Teoh, we see days not just black, but it's something going on there, and we do exactly them for the other side. We're going down, we paint this area, beat loses before we select the same tone off gray, and we quickly create some shading. Now I'm going to extend this black area to go onto the space related to the fire. And that's because I want to be sure that when we pain the fire on top of this black strip , we won't see it ending through the hair. So we extended for this reason, so we extend it towards the right and the fair would be on top and we do the same thing for the other side. We extend the strip towards the left and now we create a new layer and we paint the base for the for. So we're not painting the for the moment. We just painting the base. So as we have done for the hair and the beard, we want to identify the main flowing, the main direction off the hair. And we're going to paint these for in a quite lose way at the moment and for the other side as well. We just want to identify the direction fast. You can see that towards the bottom part of the painting, this head are going down and then towards that showed that they tailed and they pointing up . Now you can get the color directly from the reference. You know there are some sports off dark hair area, and again you try to identify the direction off the hair and then we move towards D up part , which is behind the shoulder. When the fire is going to turn and we have the fair that pointing up and they're much dark and compared to the front part of the for. Do you see that? The way I'm painting, I'm also rotating in going towards the bottom part too old the way die only turns. And that points down we are these gray onto the other side as well. And now we are these dark color again we just blocking out the fair. We just want to have an idea off the direction off the hair off the for without getting into many details, we now ending this quite dark color towards did back off the shoulder and we know select the red clothes again and we want to ard these quite dyke color. We want to reinforce the shadows. There are around the shoulder and neck area. We want to add a little bit off doc color to the flaps. Now, if I create a new layer and I place it underneath the beard, I'm gonna paint the area they're gonna kill some great day is coming from the background, always coming from the clothes. And this is basically done. As you can see, we have done the red clove, the white beats the black strips, the cooler and now differ and the quality is consistent. So now that we've done this quite big part off the process intellect lesson, we're going to blend it so we will blend the hair, that hat and the clothes. 12. Blending Clothes: Okay, so we here for blending the clothes so we can rename the layers. This is the fare. This is the black love. That's the white club. And that's the wreck Club. That's the color. So we start from the Black Club with which to the mix of brush tour, we simply start brushing over this area. This part is quite straightforward. There's no much happening here. Just do it three downs. So brush thes and we're trying to get a nice and smooth transition, so we still see something is not perfect shading. It's nice to see some noise, something not too polished. So we jump onto the other side and we do the same thing. We can hide the fair. Otherwise we would paint over the fares. Well, we don't want that because we got simple or lay is sticked for the same reason we don't want to brush all the perimeter. Otherwise, we would brush also direct cloth, so now we can create a new layer underneath direct life. Switch to the brush and we want to brush the's area in red. So when we blend the red clothes, we wouldn't blend also the background, but we would blend against the red color. We can select back the red clover. We can merge it down. Now we can see through some red because on the white bits there are some anti spaces. We can simply erase those parts off direct clothes. We can do plea head, the white bits and magic down to make the layer more filled. This is something that we've done for the face as well. How we can also do the same for the Black Strip. We want to extend the wreck love so we can now switch to the mixer brush tool and we start blending this very large part off the painting. So we want to gently blend all of this pain. All of this brush strikes and we want to get The NYSE is moved, sir face, but not too polished, not to digital in a way. So we want to create a nice transition. But with something going on, something happening over the surface again, you don't want to pay along the edge. So the way I approach the painting is to brush here and there. If you prefer a few familiar with ease to just paint and focus on one spot. Only you can do that, of course, But for me, it's important to do one big and then move on to another sport and maybe come back. We brush these area knee and flaps. Remember that you can always pain from a certain distance so you can zoom out and you can see the entire composition so you can check volumes. The right proportions are consistent. For example, if you go in a clematis, which is a French artist, and scroll through the images, you might find a picture of in painting with a brush, a patch toe, a nonstick. And this is because you wanted to get an overall look off the entire composition rather than focusing on the small details. So we now blending the chest area, which is displeasure off light. Now we showed that the white bit just to check again. Now we can create cut for this white bids so we make a selection copy and paste movie on top of the stark and scale it down accordingly to your layout are now focusing on these part, which is this quite nice fold, so you can see that the textile off this garment can be easily silk. It's kind of reflective to there's a nice shiny look. - We're now approaching the shadows off those flaps. Now we can decrease the size of the brush accordingly to the area that we want to paint. So we now focusing on this flop, and we brush and blend or off these to get something nice and move against white feet. Clean process can take some time, but this process is quite rewarding because if you after for something blended really, really well that stone away, I guess. And then we moved onto this leave flat. So we switched now to the brush and we feel this empty spaces. We also better find the shape off those elements. We now switch back to the mixer brush toe m blended mean I can. I just realized that shape wasn't correct. Just fixed that and them blends. And then we can work on these two flaps here. No blend in the shadow cast shadow. Now, with this brush, we are blaring. We're losing some definition. We're going to reinforce later on all of those details and all of those elements. So for the time being, we want to blend all of it and later on adding additional details we know blend. They are flop A. So you can see we kind of lost the definition. Now we can hide the red clothes and start blending the white color. We don't want to focus on the decoration that broader re just now we want to create like a rough faction of it. We don't want anything to polished. We want to have some dynamism, something going on so you can see even if the embroidery I'm not there yet. You can see that it's something. And is it? What we want now is which to the brush, too. And we want to add some light a town and then blended again is a bit of a back and forth between the brush to and the mixer brush toe. I'm now hiding everything, and I just want to focus on this piece of garment. Now I want to clean up a little bit. This margin here size which to the razor tour and simply raising the excess painting. Create a new layer now switched to the brush tour. Then I picked the darker color and the night paint just need to move the layer top that I magic down. I can no blend thes dark area, right. We show the other layers. We can now blend this white bits in the same way we approached direct clothes. We do this part of the painting say same process. We just want to be aware that we don't want to pay along the edge off this wide bids because we don't want to blend the red clothes. Also, we can create now. I capped from the reference we can make a selection copy, um pace and place it on top of the stock. So it's above everything and we blend all of those details here. So for these bits, we want to create something nice and fluffy. - So we now switch to the razor to when we clean up the perimeter a little bit. Now we did the same. We create a reference cut for the other party that bit, and we blend again and again. We want to switch to the eraser tool and clean up the perimeter off this white piece of garment. And we finally do fat piece of garment thinning up the shape fast in this case and thats which to the mixer, brush toe and blend this area here, clean up you say a little bit against which to the mixer brush, tool and fun lies these small part of the painting. Okay, now we blend what's going on under the beard. This is basically part of the corner. It's quite dark in the reference no many leaders that there was what we want just to quickly blend these brush strikes. Here, we can clean up this part of a little bit better. You can actually switch to the brush toe and paint this area to create more structure. If we press are, you can irritate your view. So, you know, actually rotating the document. It's just a display. Rotation by now is which to the mix of brush tool and blending what I've just done rotating back to default position. So if I show will delay is now, I can see that this a quite good progress off the painting so I can know brush the fur and create the base for B. Had it would be painted later on. I want to create this shading off light and dark, and on top of this, we can create campaign individual hair saying thing for this side. We want to get a soft base, and then we can pain the hair on top. The wars there. Sure. Uh, it is getting dark, huh? It's far behind. So now we can show the layers. And now I'm going to clean up this part off the fair and then using the brush toe kind of fixing this area a little bit. And this is basically done. We blended the red clove, the white clothes, the black street on differ. In the next lesson, we're going to refine and art details to the face, to the hair and beard and to the government's 13. Painting Hair Details: okay. It's now time for adding details to the hair as well as the beard eyelashes in the eyebrows . We're going to start from the beard fast. So we select the lightest stone for the beard and women here even lighter to in these lessons. Basically, we're gonna pain on Lee the highlights. So just a few strikes to simulate the speculum lights. So the speculum lights basically their reflection, So we don't want to over to now do a bit of that moose Taj, do we out sparsely this color without doing too much? Now we switch to the darkest brown for the beard, and we are these additional strokes. So we got Big Curly here and we re paying the hair against the dress. - So we paying once again around this area, even if it's not that visible. And finally, we want to paint some eyebrows. Now we do the eyelashes again. We have a base under new, so is easier to pain them. We do the same for the other side, and now I can pick and select the black color directly from the hair or the hat. We're going to reinforce the hair. It's a little bit hard to spot what I'm doing on the screen because the changes are minimal . But, you know, we are adding this additional extra hair. We are this additional beard against the background now. Once more. I want Teoh. Define the color area with some additional detail, then going back to the beard again and then switch color toe Work out the Ryan side. No, we got some pair on the side of the face on the cheek and now the head. So this time we want to break the uniformity off the hair, shaped by painting, singular hair kind off, popping out. So with this some quick and confidence stroke, we create this hat that tape it at the tips. So we want to break off the shape and give the impression that is formed by many hair. That's a quite satisfying part of the painting and really enjoy painting. The hair can be challenging at first, but when you get used to is going to be easier. Obviously we can do that also on the in the side and underneath the hat, and that's done. I think I'm quite glad with the result. In the next lesson, we're going to blend all the details that we are in this lessons 14. Painting the Background: in this lecture, we're going to create the background for this composition without not a seller. Only meet to recreate the actual background. With this pattern, I thought that we could go a bit more lose and create a generic flat background in the style of the Flemish art, where artists tend to implement some sort of shadow. How have we want to keep it within? Or Bynes colors? Moodin palette. So we're going to get the East direction from some of his paintings. So starting from the upper left corner, we have the poetry off William Warren, who was the archbishop of Canterbury, held at the Louvre Museum. Then we have the portrait of a lady with a Square Root and a starling, which is a beautiful painting held at the National Gallery in London, where the ambassadors is. Then we have to portray off a member off the video family, which is in the Metropolitan Museum of Art in New York. And then we have the portrayal, Sir Richard Southwell, who was a Previ counselor, and you can see it if you go to do 50 gallery in Florence and then we can actually open our painting. We can hide the greed. Then if we is which Teoh the eyedropper. You can select the sample size to be 31 by 31 pixels, and this is a quite useful towards He makes an average off the surrounding selective pixels . So we want to be one of the lightest screen from the ornament. From the pattern, we can actually increase the sampling and picking the color again. So it was reached 2 51 by 51 pixels. We select our painting. We create a new layer with which to the brush tour. For these process, you can select any brush you like. In this case, I've chosen a dry media brush which is a sort off a chalk brush. And then I can start painting. I've got the capacity set 200%. But my tablet, the walking tablet, is sensitive to pressure. So what I'm painting is not 100% or Paige. So we paint this first layer with this green, which is not 100% opaque, that we create a new layer. We pick a sorts off dark at green that we could start building up a little bit off the sh other that would be against the background. So we create some perspective. We can create the left side to be a little bit darker. And then I can pick directly from the background and I can start remodeling the background , can good lead to beat dark hair here and then make it dark at the back of Gene. Now I can merge these two layers together, duplicate delays and merge them again and hide this option. And now we want to create another green background so we can take the portray of Sir Richard Southwell as reference. So, first of all, we create a new layer we're going to pick this time a dark green pressing the all key when the brushes activated so you can switch to the eyedropper. We want to create this time of dark area on the left inside, like if you was a shadow against the background. So we start by adding a lighter town on the right hand side, and then we against which do it quite dark green and then simulate the shadow which is behind the subject. We can now decrease the capacity of the brush and create the transition between the colors . Now we paint some dark Holla at the base that we can I'd also this option and moved onto the Vedic family member. So we create a new layer and we start painting the background, as we did before, against which back? 200% capacity. They were going to create this base. This initial color? No, we can go a little bit lighter, setting down your capacity a little bit and try to create a different sort off background compared to the previous ones. So this time we want to create something similar to the Vatican Family members painting. So you cannot really say when the light sources and where the light is coming from. We can go only to be darker behind the back off, Sean. And then we can make this blue lies, huh? We pay into a little bit off this rise her tone, and this option is also done. We can now move to the lady with a square rule and styling background. So we create a new layer, we can switch back 200% capacity and we create these base now for this option. We can go lies, huh? They begin which again? And create a bit of shadow against the background. Normally, the shudder against the background helps create the illusion that the sector is inside a physical space that can be an actual war. So it's not like into an undefined space and abstract environment, and I think this is also done. So we sketch out the background for this fourth option and we can now close thes documents . So I'm now going to duplicate the painting four times by doing image duplicate. Then I lay out them in a way that I can see and compared them and choose the one I like more. And for each of them are gonna turn on and off the relevant layer and now have to decide which one I like the most is basically a myself personal preferences. So to me, these two are the ones. They are more captivating. So I think I'm going to close the other two and having a look at these two, I may be like more the blue version, even if the green version has got some Shabbos, which is also very nice. But I think that for this lesson, we're gonna go for the blue background, right? So I'm going to delete this layers and also duplicate the background. So I've got a safe copy. So I'm going to reinforce the darker part off the backgrounds by painting a little bit towards the base just a little bit. At this point, I'm ready to blend. Using the mix of brush toe I can freely paint on this background layer without affecting other layers as simple or layers is not ticked. Now we show the hidden blue layer, but we just move it on top and we want to make it pricer. We can use the levels to do so by pressing common l or control l and move the white arrow to the left just a tiny bit, so you can see there is a little bit brighter and then blend again. So we want to blend these layer also. So we want to do something symbolized before, so you don't have to do to backgrounds. I'm just exploring which one works best. When this brighter of action works a little bit better, I can actually decrease your capacity and create an in between fashion off the to. If I hide and show, you can see the difference and I think I like Mawr the darker version, at least for the base off the background so I can switch to the eraser tool and delete the bays off the second layer so we can show what's underneath. And I think it's done. So I think I'm quite happy with this layer background so we can select them both. Emerge them together in the next lesson. We're going to approach the final stages in order to complete our painting, and this will involve doing some editing off the colors, as well as using the blur tool and the liquefy effect. 15. Making Colour Adjustments: in this lesson, we going to added the colors and also do some clean up and fix a few things. We want to do some clean up so we can merge all of these layers together so we can select them or and then press common e or control E and then select this one also emerged them together can now take the drawing. We don't want to delete it. We can place it underneath the background. We can believe the green background option and also delete the black background. So we want to rename this layer into painting and this layer into background. Now that I'm urged the layers together, I can see there some spots that need some clean up. So the painting Les Selected Eyes which do the race a tool and I'm going to clean these part of the shorter which do a solid airbrush, and I can carefully the late days from the painting also define a bit more color area, and I can switch again to this much, too, and then gently brush over the tips off the fair. This is something that we've done already before, but we want to add a little bit of ah smudging effect. Now we want to make the subject a little bit brighter so we can call the levels by pressing common l or control well and moved the white arrow towards the left. As you can see by moving doors the left, the image gets brighter and that we press okay or heat enter. Now we want to blur the painting a little bit so we can place the original painting next to our document for reference. Here we can switch to the blood tour. So with this tool selected, we want to gently brush over our painting so we can blur the margins off the face or the hair or the fire. So just brushing over the fare fight zoo mean I condemn, brushed lightly over the hair with tips off the frame change and over the other side of the head see the painting going to lose some crispness, some sharpness so it's more visible. Here is a very subtle effect, but that's quite effective. At the same time, they're going to brush over this black line and you see they soft in early the bed. We can now brush over the tips off the fair. We blurred them a bit, then passed over the beard. You cannot really perceive on screen what's going on, because again it's very sapped. Or but you know that something going on. So if you try, you're gonna get the same effect and then we want to. Soft in these shape of the hat game, we do the other part of the hot and the blood process is done. Now we want to use the bird and the Dodge Tool. I always start from the burnt or set to a very low value, like 8% of something, the tool with basically dark in areas off the image. So it doesnt aren't any paint it we just dark and the existing colors. And if you press old with the to selected, it was which to the Dodge Tool, which does the opposite. It will light in areas off the painting because we can do that so we zoom out and increase the brush size and we can start by dodging the area as after burn to selected. Are we left to press and keep it pressed? The old key. So we're gonna start from the chest area, which is Liza, and then we can better define the folds and the crees off the red love. At the moment we are watching, we are making things lighter, so it's no about getting into many details. Then, when it becomes too visible, you can always which, to the mix of brush tool and mix it a bit better known. Blend the colors. So now I'm using the burn tool. I want to make some elements darker so you can swap between the two tools 1,000,000 things lighter or darker, according. Maybe I want to make thes part off the short doc, huh? Most of these parts off the beard. So again, you can't perceive much on the screen because we have a very low setting for this brush, so the changes are minimal. But if we suddenly and do all of that, you would see a big difference. It's a gradual change. Slightly. Make lips dark now I just want to, at some light to the nose, end the eyes. Now I wanted zoo mean and focus a bit more around the eyes so I can make both documents larger and with the Dodge tool so pressing the old key I'm going to define the highlights off the I. So I'm not painting as before. I'm just making the layer the paint lighter. I want to make the highlights around the T attacked, let it be on the iris, and then I want to do exactly the same for the other high. Going to define the highlights using the Dodge tool defining the I lied and then come back to these I in the arms reaching to the burn tour, making things dark just because have want to define a little bit better around this area. Now it's which again to the mixer brush tool, and I'm going to blend what I've just done. I can blend them in all the details that we created. So in a way similar to painting by is no actually painting. Right now, we want to color balance the artwork a little bit, so if you compare the two paintings, you can see that the beard in the original painting is a little bit more red compared. Toa are painting so we can fix this by calling the color balance functionality. But before that, we need to make a selection off the beard and we're going to use the Lazo too, so we select that's all and then we make a rough selection. There are many ways to create a selection and this is one of them. If we press old, we invert the selection so we can just subtract the selection. And now we can do select modify feather and she's already of about 20 pixels. So let's say 18. Then you press common J or control J, so we now have the beard onto another layer. We can see that the perimeter is blurred. Now we show the layers and with the beard layer selected weaken do image adjustment color balance. Now we want to move this lighter towards the red a little bit and also the yellow so we can see that the beard is getting more red is getting warmer now. We want to do the same for the cheeks and for the area so we can create a selection using the lesson to and we kind off select shakes. So, as you can see in the reference, Gene has got reddish cheeks and we also want to select the upper eyelids area so say miss, before once the selection is done, we can do select modify feather. We can keep the same numbers before that was 18 and then common Jerry or Control J to create the new layer and then again, common B or controlled be for the color balance palette, and we want to make it read a little bit. So something like 10 or 12 and then we press. OK, then, if you've seen days too much, you can decrease the capacity of the layer. Anything that's fine. This is what I wanted to do, so we can now use liquefied his life. We amend the image and fix what we think in its some improvements. In terms of shape, liquefy can be a lot of fun. It's such an excellent tool where we want to distort the image in a certain way. That wouldn't be possible in any other way. So with our layers selected weaken do filter liquefy. I just formally used the first brush, and I tend not to modify any setting, so the default settings for me are fine, So basically, with the first brush selected, you can distort your image. So I'm going to start from the eyebrows and I want to slightly amend the shape of the forehead. During this face. Everything is so minimal. It's just a tiny, tiny amount off changes. So you have a look at the reference and you're mend your artwork accordingly. So in this case I'm amending the I the shape off the I a little bit, no amending the curvature off the upper lead. I want to do the same for the other guy, just like the amend the calf. Make it wider. I also want to men the upper eyelid shape to enlarge the nostril. Make it wider, slightly distorts that knows as well. Then I think I want to slightly moved the cornice off the mouth, so it's not a big amount of changes. As you can see, I don't want to work again on the I try to get the same sort of shape as an constantly comparing my work with the original painting. Now, once again, back to the eyebrows, I want to modify the side off the forehead. As you can see in the original painting, this more a curvature towards the temple you can perceive also mawr cheekbone. Now I want to pull the hair a little bit. I can do the same for the beard can slightly change the floor of the beard. Pull the fire a little bit, and I think this is done thing. I'm happy with the amount off changes that we can press. OK, and now if you switch on and off the layer, you can see the difference. And I think we have done with the editing off the image. We merged layers and some cleaner. We used the levels, too. Make it brighter. Use the blast to too soft in the crispy elements. We also use the burn and the Dodge tools to make some area darker and some others. Leiser. We also made the chicks and the beard warmer and feeling using the color balance and finally used the liquefy fielder toe amend our portrait. So in the next lesson, we're going to paint the jewels and at some final details 16. Painting Jewels: this lesson. We want to paint the jewels and out the final details. So first thing we switch to the selection toe, we make a selection within which to the move to pressing V and drag and drop onto our document. Same thing for the lower part of the heart. So we have to cuts in order to see the drawing on the black heart. We need to invert the layer so we do image adjustment, invert. So in this way we have to draw invisible. And now I'm jumping to procreate. But we have this reference cuts related to the jewels so we can select these and erase what we don't need. Okay, we create a new layer who's reached to the airbrush now we can quickly create, let's say, four colors for the jewels, Same processes before. So we create new layer that we can stop painting from the darkest color. We can actually hide the hat so we can see it better. We start from the darkest color so there would be the base for our jewels, so we can also move to trolling on top of everything. So it's kind of over imposed, and now we define the little jewels. I could have drawn the jewels better during the drawing phase. As you can see, they're quite rough. How have I can do the same? Just painting straight away. As you can see, the artist painted these elements just with a few strokes. There's no much shading. There is more like an optical illusion, which actually works rather well. So we want to do this part of the painting in the same way the hens whole blinded. But we're not shaving with just using three or four colors to simulate the highlights off the gold, so we can now switch to the fed color and trying to define the shape off this Leo elements . So again we want to give the illusion off the three dimensional shapes. So it's which, again, to the brightest color we have on our palates and simulate the reflections. And I would feel the empty spaces with the second color that we didn't use before. Now we paint the one that pops out from behind them hot, and then this one old so we don't have any drawing for these, but we can paint straightaways is no difficult shape, and now we moved to these four elements here, starting from the darkest. So we create the base and the structure again jumped to the third color, create some reflection, go to the brightest and art the highlights and then do exactly the same for this truth here , making the second color Do these objects funding the highlights. Now we can just move the palate and then feel the empty spaces and better define shape. Now we can move towards the lower part of the hat, making this remaining jewels. I see the same process so we can do the structure fast. Using Dhaka's cholera Now we can just paint the highlight. As you can see, these parts are quite dark, so we can define the shape by painting the highlights straight away. I think the brightest color we have in our talent simulating the highlights off the gold. Now we can create a new layer and place it underneath and then paint the empty spaces. Okay, Now we can hide them and finalize the jewels process by painting this final circular pen or medallion. I'm not sure what's the name of this. So we start from the Mick Town switch to the darker color. And then, at some highlight, we can all sorts some dark color around there, Really? So now, as a last step, we can create new layer, place it underneath what we painted so far, switch to a dark color and then feel the empty spaces. Now we want to our thesis final I light. We can actually pick the card directly from the painting and then change it accordingly. We want to art this white, bright yellow simulate strong highlights off this precious metal. So, as you can see when you place the highlights, everything makes a better sense. Is this Nizer? It's just better. So we add the's final hi nights. Now we can add this quite warm, translucent color, and this is basically done. So we approached this part of the painting in a different way. Normally, we would paint and then blend, but in this case we were just paint it because we don't want to blend those colors together as in the original painting. So in the next lesson, weaken are the final details and then protection 17. Adding Final Details: right now we want to are the final details so we can switch to the technical pen, pick the color from the eyebrows, create a new layer. And now we want to paint the eyelashes. If you focus on the eyelash, it's you can see that I'm painting around the area as he might be difficult to spot. But I'm painting. I'm thinking the eyelashes with this technical pen, and now I'm going to move on to the lower I lied. And are these eyelashes now? I'm going. Teoh are some additional hair or to the eyebrows. We're going to move on to the other guy. I'm gonna paint the Nashes, Then again move onto the pipe, rouse and create these additional hair. I'm going to add the's hair between the two eyebrows. Now we're going to move on to the beard and we want to switch to a yellow color. And with this color selected, we're going to paint this more hair on top of our beard. So again, sometimes is a bit difficult to spot, but in painting, because the details that are mounting a very, very sapped or but you can see that this thing had on top of appeared. When this process is also done in the next lesson, we're going to art a texture toe are painting. 18. Adding Noise: in this lesson. We're going to our annoys layer. I'm going to tied up. The stocks are going to select These hidden layers can lead them. So this three day is I can match them together as they are part of the jewels. I can actually make them a little be light early to be brighter, using the level of common L or control, our and I can merge all the painting layers. I can also merge this one down with comment. E control. I can now rename this layer into painting and select the background, merged them together with comment e. And now we want to make a new layer and create some noise. And there's a specific technique to do so So we start by feeling the layer with white. Then we do filter noise up noise. We cannot want to choose a big amount, something like 250 or 300%. And we reached the ocean and that we press okay then with which to the overlay mode and set the capacity down to be around 5%. We now see there's a kind of texture over painting what we want to do now. is to blur this layer using the Goshen. So we do feel caution and we want to choose this time a very small amount, something around one pixel, and then we press OK, now we want to make the layer and let it be more visible, so something around 7% or 8% will do the job. So now you can see there's a nice tech shirt that is breaking the uniformity of our surface . In the next step, we're going to a proper protection over our painting. 19. Adding Texture: in this lesson, we're going to apply a canvas texture that I viscount some time ago that we can move in our campus. Tech sha We can see the details off this file. We can drag and drop onto our document, place it underneath the noise layer as which it to multiply. We now press comment t to resize them up and click on the link I can think of Strain the proportions. Now you can go by. Numbers will scale it down on stream, using the shift key and repress. Okay, we can now invert this picture by pressing comment. I control I and then set your capacity down to around 12%. We can now switch to the color ban M of destruction on the side now switching to linear burn, and it doesn't make a big difference. And pressing old we can move in, copy the picture doors the right hand side. So now we have to texture one next to another. So it's now about finding the best picture that works with this painting on weekends, which it back to move to apply so I can modify the capacity off the texture on the left. That's which to a dark hair color mode and then invert pressing common I. So if you compare them both, you can see that the left inside texture is more convincing. We can now make it brighter, using the levels pressing common l and shift the white our road towards the left right. I think I'm gonna delete the multiply version off the texture and keep the dark in color. So if we do mean we can see the texture a little bit better, that's a typical campus tech shop. Now we can switch again and try a different mode. In this case, it's Lena Baron, which is nice also. But because thes mode made the aural picture a little bit darker, we want to select the painting layer and called the levels by pressing common l. We can now shift the white error in the meter our towards the left to make the overall picture brighter. Now want to make the background just a little bit dark at what's the Boston Seconds, which to the burn tool and brush gently over this area with a very low exposure. Then switch to Dedaj toe pressing old and make just around the hot, be brighter like if it was an aura and I think this is done, that can be enough. Following this principle, we can apply all sort of texture maps to our canvas. There's a canvas type. Another one here is lately different and disease affect shot Coming from a fine watercolor paper, this could be a plaster texture. This can be a different sort of plaster that can also be used to simulate fresco. And this is a crock effect, also known as crack clear, which is stimulus. Some old paintings where the tension off the pains reached to a point. What breaks the surface, right? So this lesson was about applying a picture you are painting, which is on optional step. We basically reached the end of our project. In the next lesson, we're going to finalize our painting. 20. Completing the Painting: in this final lesson, we're going to complete our painting and quickly go through all the steps that we went through. Festival. We want to flatten our image so we d flat an image with the book. Click on the background and we create a layer we want to duplicate this. Now we select the bottom layer. How we do image adjustments, exposure Exposure is a very sensible tool. It takes nothing to over exposed the image. So we use a very small amount, like 0.16. Now, if we tuggle the visibility on and off, we can see the difference. That's why we put that layer there now the levels a bit again, on and off. So you see the difference. Now we do some vibrance adjustment just a tiny bit. And lastly, we want to adjust the color balance a bit. As we see these images, slightly yellowish is likely greenish. So we want to use the color balance to fix this. So we press common, be control be and I always lie towards the red a little bit and we do the same for the Blue Slider, something around six point and we press OK again on and off with the visibility. So you see the difference. And this is basically down. This is our finished painting. You can obviously continue adding defense, increase the level of realism, refined the embroidery or maybe for you small on the beard and the fair. But for our objective, this kind of result is enough. So let's have Look at what we've done in this cause. We set up the document we made, agreed, made a drawing. Then we created a no looking paper. We painted the face and the beard. Then we blend them. We're paying to them, blended additional facial details. Then we painted the hair, the heart and the clothes that would plan them. We refined the artwork by acting for and the head details. Then we made the background and the jewels. We did some color balance. Apply a texture and we finalize the painting. I hope you guys enjoy the course and that you learn how to paint and blend whether you are for the shop appropriate. You, sir, are both like myself, right In the next lecture, we're going to conclude the course 21. Conclusion and Recap: and here we are. At the end of the course, we went through a lot of things in tools. It has been quite a journey, So if you enjoy, please feel free to review the cause. If you have any questions or doubts that you want me to clarify, please be in touch. You can send me your artwork for review. I'll be happy to make comments and give you advice on how to improve, and we'll also send you some art reference that can help you out. As we said before, the version of your software can be different for mine, so some tools can be located somewhere else. But the process stays the same. So if something isn't clear, please let me know and I will try to clarify. Now there's There's a lot of talk between traditional art and digital art. They, in fact, two different things. However, it doesn't have to be a battle between the two. You can obviously learn both of them, and this is something I definitely encourage you to do. Personally, I wouldn't be able to do what I'm doing today if I didn't have a traditional background. I spent many years drawing and painting traditionally, and I still do. But at the very same time, I enjoy the two pending a lot, and it's also my source of income. My advice is to draw a lot all the time, from life from photographs. Do it traditionally as well as digitally study the old masters, the history of art. Go to museums and galleries and educate your eyes as much as you can try to understand what you like, which artists off our movement is catching your attention, which style and then move towards that direction. At the end of the day, that's only one big ingredient to become a good artist, and that's practice, and this applies to everyone given to the ones they are naturally gifted. So we have arrived at the end of this course. I'd like to thank you for joining in. I hope you guys enjoy and I wish you all the best. See you next time