Oil pastel portrait

1. Welcome to the class: high school share. I am not the Cali back with yet another skin Sheckler us on oil. Be still portrait, which was highly requested in my instagram by my followers. So I am very excited to show you guys this fun process, as you all know, my love for mixed media and traits on. That's how they started around a Europe ally casually picked up a sketch portrait. Oil Bay still set by sin Ella. I love our base deals for its immediacy and, of course, the buttery consistency end result almost looks like oils, which is like a cherry and adopt. I am sure everybody has some sort of beast set hidden in their drawers, but never use it much so bad that right away and let's get started. 2. Materials: Further people, you can use any kind of drawing paper or hard-pressed watercolor paper. But I'll be using this sketch preoccupy Fabriano, which is meant for drawing and dry media. There are a lot of oil pastries brands out there, but I mostly prefer this brand by Mongo and also current dash. Longer ones, however, are easily available and has the best consistency. You may grant solitary six set or even 21st set. Make sure it is the gallery ones as Mongo has two types of oil-based tool set. So this class, however, I will be using colon dash oil basins as I am out of few of my megawatts. But don't worry, I have eukaryote as I will be using limited color palette. So I have picked up minimum colors, starting with the skin tones. Orange, car mine in lightest, yellow, light pink occur dark brown, and light brown and white. And some extra pop of colors on violet, lilac morph sky blue, turquoise, cobalt blue, and green. Pelican demos or colored pencils of the color black, dark and light blue, decrepit and likes brown. People blending stump, which is optional. 3. Basics- Mixing & blending Skin tone: Ok, so starting off with the basic techniques that I use in my oil-based portraits. Mostly people have difficulties in color mixing and blending with oil-based stills and then portrait with oil based tools with both column mixing and blending goes hand in hand. So I will demonstrate here how I go about it. So let's start with skin tone mixing. For instance, if I were to mix a color of light skin, I would take a mix of orange. Then Carmine. I just laid over it. And then I will take the lightest or Baylis shade of yellow or pink and pull and blender Docker base colors I initially lead like so. And bring back the orange and Carmine to maintain a flawless transition of dawn. And then blend it away with the lighter color for the highlights. I do it until unless I'm satisfied with the transition. So now for the darker skin tone, I am taking a movie scholar, or you can even take color close to it, this like a purple color. And then take a brown color and lay it over the purple. And now taking an ochre color and then again in it or leering it over. And then as you know, pulling it out with the lightest color that is, this one is a pale yellow color and I'm just pulling it out and blending it like so. And then bringing back the ochre color. I am ensuring a smooth transition. So here we are done with two types of skin tones, the basic ones, and now it's up to you how you are intuitive enough. For the reference photo you have, how you will be mixing these ballots. You have got various variations to go with it. Like you can use a little bit of orange and then you can eliminate the purple and mix them and create your own skin tone pallet. So these are the base ones that is the lighter one and the darker one. So now, as we are done with this, let's move ahead with the features and starting with eyes. 4. Basics- Eye: So starting with eyes, I usually like to go on directly with the oil-based too. But to make it easier for you guys, I will like to show you the sketch with a polychrome, ah, pencil, which is self dark red color. You can choose any color in the spectrum of rich or even poeple, but not black. Because black colors sometimes shows through even with few strokes of the oil-based tools above, but and sometimes it makes, it looks muddy afterwards when you blend it around too much. So let's go with a dark red color and any spectrum near to it with it. Let's start with the sketch. Here I am drawing an eye bell, just a small rectangle and then giving it a curve at the end. And then a triangle sort of shape. And then finally the eyes, starting with the eyelids, the crease area. Now with the circle. So most cup sort of a shape, you don't completely draw a full circle depending on the angle of where the eye is looking at. So now, let's go with the light skin tone, how I showed you. We'll go first with darker tones for it, starting with orange, and then laying it over wherever there will be shadows, and then leaving space for highlights. And also please call light 100. With this, do not put a lot of pressure, otherwise, it will be really, really difficult to lay on other colors over it. As you can see, I hold my oil-based hills in this way so that I don't put a lot of pressure. And then bringing the carmine or any shade of red. Again light handedly, I will lay over the orange color that I already collided with. Making sure I do not cover the highlighted area. Only covering where I need the shadow areas to be. And then bringing my playlist yellow color and then pulling it out like I showed in blending section. I am not putting a lot of pressure again with this one because I want to make more changes later on more. I want to layer on more after this. So light handedly. And I am using oil-based by current dash, which is very pigmented. Therefore, it might also depend on the brand of IP that you are using. So literally, light stroke will give a lot of pigment. And here I am laying down more of that orange. And again, ensuring a smooth transition. Going back and forth with orange and my light colors. Now, I am using this purple color or even brown color. You can go with it to enhance the eyebrows. I don't like to directly go with black color with this because it looks really harsh. And it adds a pop of color and an expected type of color. Then to blend it out because it's fine hair with the eyebrows I call with black polychromy was over it and create feathered texture hairs over it. Taking this brown and light brown color, polychrome McCollough, and then again, blending over it. Now here I have got a dark red color for the crease because it's a tight area. You can even go with the corner of an oil paints too. If you are going for a loser look like so. But for title spots, you can use a polynomial like this. And then define those edges. Now with a light pink color, I will try to blend it more and covered those white areas that I study, peeking through. Adding little bit of white for the highlight to enhance the lighted area. Now going with the eyeball area, I've already it's not when you look into it, it's not exactly totally white-collar. It has some little bit of reflective color to it. So I like to go with the dark gray, light gray, or even light blue color to give it some character. And let's give it a blue eyes. So I'm taking a blue color and then I literally dot-dot turquoise color. And then dot-dot-dot Brown. And taking the same colored colored pencil, polychromy pencil, I will define the edges. Also. Utilizing the fact that it's pointed. I will try to even blend it. And bringing by the dark brown color and defining the eyelash area. A loose Fun AI. Sometimes I like to give eyelashes with the polychrome most. Sometimes for a loser effect, I will just go directly with oil-based T2. Again, the bottom lash area. And then taking a dark purple and darkening it out. Dark purples and blues really, really give that punch if you want to. If you don't want to use black. This is a great alternative. 5. Basics- Nose: So now another feature that is the nose will start with the sketch. Just these curved lines for the Northbridge and three circles like so. And then the nostrils. This is the basic way higher how I attempt a front posing portrait. And then now you know the regime, how I lead on the colors. First, orange light handedly again and leaving space for highlight area. And then Carmine Gallo over it. And then blending it out with the lighter yellow. Just pulling it out. If you're worried that your highlights section is uncovered already, don't worry, you can bring back a white color and redefine that highlighted area and also make sure you all AP stoves are always clean after you use it because sometimes it can be contaminated with the colors that has been already laid down. Like, for instance, blue color has been mixed with this, but I don't mind it saddened to the effect. But just another tip that do cleaning oil-based tools after every use. Null again, bringing back dark brown color and redefining the North frills and giving it some more shadows. It's almost like sculpture. Colors really bring out the shapes. And then adding some light pink color. In-between. You can see I am bringing back my lighter highlight colors so that the shapes don't get lost. And then a final nose bridge shape with the darker brown and then blending it out. And then lets gets polychromy pencil. And then I'm giving a sharp edge for the nostrils. You can skip this if you don't like if you want to lose and look again. And that's how we had done with the no snow. Let's move on with the last feature that does the lips. 6. Basics- Lips: So now for the lips will start with the sketch. So starting with a straight line and then two dots at the both ends. And then giving these always shapes. To maintain the symmetry. It depends on the shape of the lips for the particular portrait you are attempting. Then like how we went before, I'll go over first with the Carmine Gallo here. That is the center of the ellipse. And then to dock on it for the shadow, I will use a dark violet color and then blend it out with the Carmine again. And then pull it out with light yellow, like so. And you want to make sure that the lips do not have really sharp edges. Because you want to smooth finish of the edges. And then bringing back, forth, back and forth the Carmine Gallo and then blending it away with the pale yellow color. And also adding some hint off light pink. And then if you lose that center contrasted and shadow area in between, you're going to use, go ahead with our polychrome or and define it again. Using a Docker while it appropriate color. Refrained from using any blacks in here because it will look really, really unnatural. And then also making sure that the Bhopal is quite nicely blended away with the carmine. So now we are done with all the features. The skin dawns, and eyes, and the nose and lips. So now let's move ahead with the whole portrait sketch. 7. Sketch: So now let's start with this sketch. Will start with a circle or an oval shape for the face. And I'll go with symmetry lines like these. Horizontal and vertical across really. As you might have seen me making this symmetry lines earlier in my portrait sculpture videos. So I will attach the sketch in the resources section for this in case you are not that confident in sketching, and you can just take a print out of it and color it over with your oil-based dose. But I still recommend you to give sketching this portrait a couple of tries before you give up. As every new try, it's a stepping stone and improvement. Just have fun on the way to remind you. So there was a time when I was really, really obsessed with drawing and sketching eyes. It actually gave me a lot of practice really because most of the times, eyes and nose, and hence are the most difficult part of drawing portraits and figure relatives. So I went with all the n possible angles with it. And I used to practice drawing and sketching eyes in different angles to understand the characteristics of the light and shadows with it. And how different one angled i is different from each other. So I would really, really recommend you again, try and do as much sketches as you can with faces and portraits with different angles to work up your intuitive muscle. I usually like drawing these always shapes around the cheeks, forehead, eyelid still maintain the symmetry. It really gives me an idea of the space around the face. And every face is unique in its own way. So I don't mean to stereotype of what exactly a face should look like or something. But it's just few basics that every of us features and everything. There are some basic Stewart symmetry that we all share in common. So this is just to give you an idea. Well now we are done with a sketch, so let's move on to coloring. 8. Bring on the oil pastels Coloring: Who gets an envoy already laid down three basic colors in the shadow areas. That is Carmine, orange and ochre. I've just scribbled it over the areas. That is a forehead, cheeks, and the NICU area. And now let's add some more fun colors. So now adding a movie bud off while ID column to give a nice shadow in the jaw line area. As I said earlier, that you can use a lot of bubbles and wallets and dog Blues for the shadow areas and blended doing. Here, adding some more sky blue. And the outer corners of the portrait where you can see a lot of contour areas and then pull it out. And when did away with be yellow collagen. Let me add some more pink, light pink to it. On top of that. Baby yellow. And then bringing back the orange and gar mine for the cheek area. Little blush. And then pulling it out with being yellow. So here mostly it will be you have to identify your Docker areas of the fees and the lighter area of the fees, and the high highlight area off the piece. So it's easier for you to play stone colors initially. For this will be almost forgot. The nose area out here, the nose bridge. So let me just lead on colors, the darker colors for the nausea. Orange end goal with Carmine Gallo over it. And then under the eyebrows, which is joining the nose bridge. And getting some like being colour and trying to pull it outwards the darker colors. And then adding it here in there. Try to move around the face as much as again, don't concentrate. Just on one area of the face. Otherwise, you won't be able to balance the colours. Some people like to go with just one BOD and then move around. But it's easier this way to analyze which space needs more Dhaka, don't colors and rich space needs more highlight. So just blending it away with my lightest color, I call it the highlight color of the portrait. Pulling it out, bringing some ochre color and then adding some more. Don't do it. Tonal value to it. Let's give the base color to the eyebrows. It'll be easier to dock on that area. Liter will slowly building up our features. Now with the dark brown color giving some fine hair with the corner of the bestow. Again, here you have an option to, you can go over with a dark polychrome color. But here I am going with an oil-based directly and bringing back the light pink color. And then again yellow ochre, defining the eye area. And then bring it, bending it away. Whenever you apply a dark color, do not forget to blend it away with the lighter color so that it looks not true. And it's just not a hard line stroke. So do not worry if your pinned, your drawing, your sketch is not looking like the way you imagined it to be. It'll all come together. Just have some patience. Giving you, again some blue eyes with light blue and turquoise color, like how we did with the basic I sketch earlier. And then the regime. Just define a doubt with Polycomb ah, pencil of the same color, then some gray color or with a white tie, white area of her eyes. And if it's got a little too dark for the eyeball, you can even go with a white color and then give some spots there. Now with a dark brown color, I am defining her eyelash area, bottom eyelash area, and then some more of the eyebrows. Now let me get my light brown follicle, more pencil and then dark blue polychrome pencil. Now with the lips. Again, I'm starting with a docker, Carmine color and orange color in the center of the ellipse. And then I'll be spreading it out with lighter pink color and yellow color, just blending it away. So here I'm drawing a line in the outer edge of the lips. But then again, I'm not forgetting to blend it away so that I don't have a hard, harsh edge. And then duckling the center of the ellipse with dark Bhopal again. Now moving towards the neck area, taking pink and then blending those initial dark colors. So here I've blended away the neck area with light yellow. It's really fun to blend away all these areas really. So it's more about fun minutes blending time. Again, bringing back wherever I see that it needs more contrast colors like beings and oranges and browns and garments and then blending it away with the light color. I'm against sculpting around the North. We do not want to lose the shape of any of the features. So we go back and forth with the dark color and the light color. To give it the dimension we need. Now for the highest highlight, I will, I'm using this white or a base to where I can see more of the light hitting the face. 9. Hair: So now for the hair, I will be taking dark colors like wallets and dark browns, and then laying over long strokes of it for the dark areas. The spot is mostly about long strokes and then leaving space for blending the hair. So I don't like to put a lot of detail in the hair area. So have fun as much as possible in this but long strokes with Doug Brown. And then leaving space where you can see the hair is shining, taking a light brown and then adding it as well. So the thing with drawing or coloring here is that again, it's not just one color. As hair is also fairly reflective of the surrounding lights. So even a black hair would have shades of blues and greens. So I made sure to include that concept of light when coloring here. So here you can see I've you shades of vocals and blues and browns. And now I'm blending it away with law pill yellow. You can even blended away with the lightest Brown or even white. Just make sure it's not totally white color with this. And also some fun color for adding orange. Just seeing into parts where the hair has some shadows. I'll add Doc Brown and purples and where you can see a lot of reflective light. I add. I blended with yellow and brown. 10. Final blending: So here he is. When you want to blend the portrait photo, you can use this paper stomp. It is made out of compressed people and then blend it away with this. If you want to cover all those people that is still showing up, make sure you first started blending with the lighter areas as you don't want to contaminate. The light APIs where the darker areas. So flow, stopper the lighter areas blending. And then shot strokes like this. Discovering ideas. Be Palladio's that interesting, showing up much more than that. 11. Final words & class project: Okay, so we have reached to the end off this class, and I hope you all found this is los. I always like to remind everyone to not forget to have fun while drawing. Let's go over some tips to remember. Try mixing your own skin color and making swatches. This will enhance your color, memory and intuition. Do not put pressure on the oil based tools in the initial stages off laying down colors. Clean your oil. Peso tapes with soft cloth are tissue paper after every use. Finally, if you have any suggestions or questions, you can leave a comment in the discussion section. I am really excited to see all your work, so do not forget to posted here in the project section. Until then, take care and have fun. 12. Bonus tip - Sealing : So after you finish your work, you can protect it with last seen or butter people are. You can use this new technique that I've recently found out that is used. A gel medium. Matt Bai liquid. It's gently spread the Joe medium with a dry brush. Sure, you don't put a lot of pressure while spreading this media on After it's done, I wait for a few minutes for it to dry on. My old Mr Work is finally finished.