You Can Draw Faces; How To Succeed Every Time | Ron Mulvey✏️ | Skillshare

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You Can Draw Faces; How To Succeed Every Time

teacher avatar Ron Mulvey✏️, Artist / Art Teacher

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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

    • 1.

      Faces INTRO


    • 2.

      Faces Materials


    • 3.

      Faces Getting Started


    • 4.

      Faces Draw 1


    • 5.

      Faces Draw 2


    • 6.

      Faces PAINT 1


    • 7.

      Faces Paint 2


    • 8.

      Faces Paint Finish


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About This Class

You Can Draw Faces; How To Succeed Every Time

Most people stay away from drawing faces. The whole process is a mystery that leads to feelings of inadequacy. I am here to show you that there is a simple way to break those artistic fetters and really start drawing faces.

Getting the features in the right place will be our first milestone in this class. Keeping the features simple, and in the right place will start you on your way. We will then apply these new skills to a watercolor face that I will be doing with you.

Have you ever wondered why we struggle with drawing and painting faces?

Have you ever tried to draw a face and immediately start to get bogged down and confused with all the details?

In short have you decided that drawing faces and painting them is not much fun?

On the other hand, do feel that you can draw faces very well but are bored with the monotony of the same old same old.

Maybe you are looking to speed up the whole face drawing process and try a new approach?

I want to show you a straightforward approach to drawing faces. An approach that will get you results immediately and spark your confidence to go even deeper into your drawing. I have used this approach with many students over the past 30 years and with great success.

The secret is learning about shapes and divisions. If all you are doing is trying to draw a face you are going to stumble right away. If you can perceive the face as a boundary full of interesting shapes and you can locate  these shapes into a 'measured order' will draw a face every time and it will look like a face every time. I guarantee it!

I'll give you the 'Face Drawing System' at the start of the class. We will master it in about 5 minutes and then move forward to applying it with a realistic drawing and painting of a face.. No photos, screen shots, or mirrors will be used to 'copy' from. 

You will need:
 -HB pencil, an eraser, and a blending stump. (a finger or Q-tip will also work)
-140lb watercolor paper or a heavy piece of paper
-Watercolor paints
-good pencil crayons.(something that will add some accent colors)
-practice paper.

I will guide you step by step all the way through the entire class and we will learn together.

Finish Up With color. depth, and decoration

Bring Your Picture As Far As You Want Or Keep It Very Simple

Meet Your Teacher

Teacher Profile Image

Ron Mulvey✏️

Artist / Art Teacher


I've been working as a full-time artist since 1980. I have had the pleasure of teaching art since 1983 and have taught thousands of classes on drawing and painting. I would consider it a privilege to assist you in achieving your artistic goals.

I have taught the basic and advanced mechanics and principles which give us the skill and confidence to express creatively, for the past 30 years. Sharing them is my passion! 

What Do I Like Teaching?

Watercolors and Acrylic are my specialty. I work with oils also but not as often as the water based mediums.

I love trees, mountains, rocks, water, flowers, and all that nature has to offer. Getting out into nature always gives me a creative boost. You get the real energy and feeling of space and belonging.See full profile

Level: Intermediate

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1. Faces INTRO: I'm Ron Movie and welcome to faces. I would like you to follow me on a journey that starts with very basics. And then it moves every step of the way Mawr and Mawr into what it is we need to know to draw faces. So follow me on the road to discovery today. Take your time. Sit down with me. Stop the video at any time. Add things that you want to add. You don't have to do exactly what I'm doing, but I'm just going to be encouraging you to follow along the artistic process. Oh, this needs a little shot of green right dinner. Look forward and take every opportunity along the way to move into your creative zone that place where you could get things done and really enjoy doing them. One of the things I hear from students all the time is I want to draw face and they wanted to look, really, I feel that the realistic portrait is probably the best place to start. Then, from there you can go. Either way, you could make it simpler or make it funny. You could make a caricature, but getting the realistic portrait is the first thing you want to learn when you're doing faces. That's what we're gonna learn today, and that's what you'll be able to do by the end of this class. If you're just a beginner or intermediate, even advanced, this class will certainly show you how to look at faces in a different way. Thanks for joining, and I'll see you in the first lesson. 2. Faces Materials: this class mostly will be using an H B pencil. Now an HB pencil is great because it doesn't go to dark. It doesn't go to light, and it does blend well with the blending stumps. So a blending stump available pretty much any of the art stores you can find big ones, small ones. You can trim them with a sharp blade, and they last a long time. If you can't get one of those, then get a Q tip and you can use your finger also. Or you can put your finger on the Q tip like that. So the so it doesn't break blending stumps absolutely essential or your finger on eraser. I use the state Lear's because they're vinyl and they don't ruin your paper. A good quality sharpener on Exacto Blade will work, and once in a while I use a Sharpie. I wanted to really show you a few tricks with the Prisma colors because you can get some very bright colors that probably won't get with paints. And it does add a nice, permanent color accent to your picture. There's two raids you can get the student quality, which is about $35 for 24 you can get the professional quality, which is probably twice the price. These air really cool pencils because they just lay color onto your picture nicely. The chalk pastels readily available. These air not very expensive there, stayed Lor. I think they're like $5. You can get really good quality ones and pay $40. But I just wanted to show you for drawing how you can use these and have a little fun. Well, here's our painting materials. We have tape for taping the picture you'll see in our project how I tape down one side and get to areas here for testing colors and things and our main pictures right here and later on, I'll cut that off, and that's what you'll see. Eso green tape Painter's tape. Some paints these air just in little cakes, about $30. I like thes. They're fine, They work well and they're always handy. Or you can use tube paints. Graham paints or great. This is Cotman, which is a student grade, readily available and not too bad. They're not the best, but they're better than cheap paid. So Kaufman good student grade gram more professional. I have my palette here, which you can mix in. You can get thes anywhere. They're very inexpensive. One good brush. I have a sable brush I've had for years, and it's about $40. And here is a Robert Simon's five or $6 squirrel hair. Synthetic love the squirrel hairs. Some artists find them floppy, but for me they just wet the paper beautifully. Paper towel. It's a good idea to take your picture to a board something stiff so that you can tilt it and move it because watercolor does like to run down and run up. Okay, so that's about all we'll need for painting. Get those materials. What's the simplest thing you can get by with probably one of these? Ah, brush or two. And, of course, your paper. 3. Faces Getting Started: Let's draw face. Very simply, start with this. A rectangle using up and down and back and forth for our system. You want to divide that face using the corners to find the middle and then just add Ah, small chin underneath that So there we have the basic shape of a face. Now there's a few things we can add. One. We can add a straight line just a little bit above the metal on both sides. That's where the ears air going to go. And from there, of course, adding some features, you could see how far you can go with circles very simply marking in and getting things in the right place. Once you have things in the right place, everything will fall into place, the head round, and then I've squared it. How do I square it? Ah, flat side here. Then you almost bring this to a point. If you want, you could bring it right to appoint down the middle like that. We don't want a pointy chin so around the chin and come up with a rather straight line there or curved and then the top of the head is usually ground. Okay, now they're always when you're doing people. At first, you're going to have to do these little divisions, and the reason you're going to be doing those divisions is because you may not see exactly what's there at first. Once you can see, you'll be able to draw. So now I've made a little bit of a rectangle here, and what I'm going to do is divide the rectangle to find the middle. Very simple. So, Theo, round circle the circle square, the sides square that where the jawbone is, put a little bit of a chin around the top school over that again round square, the sides a little bit of straight here and here and round the chin. Okay, and the top is round. This looks more like a young person, maybe a baby. If you make it more oval and follow the same procedure, you'll have more of a chin, which is a bone which develops later. So there we go. And then, if you square that make a square, find the coroner's join the corners. That's your first trick. Get that done and your ice. I am serious. You're on your way to drawing people. Let me see if I could do that one more time drawn over or a circle. This is a very thin person. I could go in any order. I'm Mike Squared first thing, and then I might find the middle. There we go. And now I'll square the sides a little more pronounced, put in a chin and the head. And now you're ready. Put even more more. There you are. Ready for step number two on step number two. We don't use a pencil. We use a blending stump. Goodbye. These very cheap at any art store rolled up paper. And what we do is we create a little three D effect around the face, especially around the edges. And in the middle. There you go. Bring it right down. And now start thinking face. So this produces a soft image. And now you can start to use your pencil for a few of the features 4. Faces Draw 1: first thing you want is get this little piece of paper here. A tape it down. Got a couple extras here for warming up practicing. You'll see that in the video coming up by the end of this class. We should be right about that stage and ready to throw some Colorado, so I'm going to go over this. This is the first part of the video, and that's when we make our rectangle. We'll be using an HB pencil and we'll be doing little searching lines, but they're hard to see. So I'm just going to give you this first part, and then you put your little circle in here. Or you could first of all, do the X and find the center, and you'll see my circles off. So finding the center is very important. I'm making these darker than you would just to show you and then move that over. And then we joined this up. I joined this up, put square the jaw a bit, put in the round part for the top of the head couple marks for the years and there. We have at the beginning, see off our drawing, and that's where we're going to start today is right here, and we're going to get to this level. So let's start together and we'll just use these little feathery strokes will make our rectangle and I'm using £140 watercolor paper. And then we put our little divisions in which we will erase. Don't be afraid to use your pencil. Put the divisions in there is the metal and then we put our little circle here, Feel your chin. Let's get a little feel you feel comes over here and over here and it hinges up to your ear . Will just put a little round mark there for a near and no, we're not doing the Tin Man from The Wizard of Oz. Even though it might look like it. We are using searching lions, searching lines, air, little feathery lines like this budget. We're still using our arm and we're searching out are drawing round up here now. I think I'm going to make mine a little skinnier here. See? See how I rounded that shape? Same with here. So the chin is a little straighter. There had now I've determined fairly broad chin, which is fine. And now these two did you use my eraser to get rid of this little line here? This little line here cleaning my drawing as I go coming, little brush, little voices that you might hear saying, Oh, that's not good or you can't go wrong with this method and just to prove it going to do a couple characters here. So I'm going to do a quick one here, too. And I'm just going to use what's called the pencil head, which is even quicker. But when we do the years, let's bring the years down a bit here, See? Like that. And then let's just add a little low. But there see the lobe now. Not everyone has their logs. Some people don't have a near log, just kind of go straight down to the side of their head. Okay, this one's kind of getting cheeky. See, don't you know everything doesn't have to be Hollywood perfect. Get used to that idea. There's very few people like that, so having characters, having a character, having a something dynamic and different is cool, too. How? Let's say it was going to be of the female gender and we don't know the age yet, But I've brought this over. Now you may know some really extravagant hairstyles. Go for it. Thistles. My basic simple could have a pigtail in the back over the hair could be up. I'm thinking maybe the hair is up. There's a top not up here. I mean, why were not allowed to draw grandmother? Everyone has to be a certain age certain size certain. Look, I don't think so. Oh, there we go. Erase that. What if you get a contract to do a story book? Okay, so maybe we'll had a few little wisps here. I don't know. I'm just making this up as we go. I'm not pretending that I know who I'm drawing. I'm just drawing using the principles. Well, one of the things I know is that the they should be five eyes. If you want to do it right. Five eyes, three. So ahead is kind of five eyes wide. I mean, these little things help a straw. Five ice. Now, which eyes do you choose? Well, I think we'll probably use these to ice. And then if you connect these two with a triangle, another little trick, that's usually your nose and whatever's left whatever divisions laughed. A few make a little box and find the middle there. That's the bottom of your mouth. And there's your chin. So it all worked out well, we almost got spectacles here. Look, coming through the years, Maybe we'll do that. Okay, So what do I do now? See all my little divisions at all helpful over that little division again. I like that. So we made this. Every time you do it, get confident in what you're doing. Get confident. And then we did the five eyes. One in the middle of one of the side there. And that'll give you the right width for any had take the middle eyes from the center. Bring down that's where the nose. And then there's the mouth. Okay, so just gonna darken. Here we go. Even from here, you can see that the eye lid goes over the I C. So if you do that again on this side, I'm using my little pencil here. The ground was looking a little bit. Doesn't have to be grandma started. Oh, it's starting to young up a bit. I think when we started with the ears, we just pop them in really quickly. Okay, so you have removed the ears. I'm cleaning up a few things, taking up the spectacles, maybe a few of the lines all over the place. Division lines, the chin. I think I'll take that out. And my softer racer is cleaning things up. So sleep it off, and now I'm going to just mark in the simple ears, just the rounded ones. I'm not even gonna put the lobes on yet, but there we go. And now I'm getting the hair in behind the years. Looks a little more. See how it kind of comes in like that. It's a nice shape. I like that little shape. So the shape is coming around here and just down beside the ears and around two years. Then we call that an interlocking shape. It just locks right into the other shapes. Now makes a hair come. And just a bit past three years, one of my eyes is bigger than the other. It's OK. Don't worry. That's the eyeball. Okay, so there we go. I've added a few more things. I like this over the brow thing here. Usually right over the eyes. You can feel your eyes gently there with your hand. There's a bulge, the eyes air set into your head, shading, softening. All kinds of things can add one more little thing. I haven't decided yet exactly what she's going to be looking like. Or is it the middle of the eyes? I'm just lightly bringing this over, going to give a little smile here, see how this it's coming around this way because the head is curved. So I'm bringing around just a little bit there, and I'm starting to sort of see some lips here. If you looked at carefully at the drawings on paintings by Leonardo, you'll notice very, very small bits put on small bits. Look at that. Now those lips are starting to have shape. Okay, so this is looking a little, as he would say, tightlipped. So I'm going to take my smaller stump, see if there's anything on it a little bit, and I'm just going to pull it up a bit. Lips are very much different on everybody. I'm going to make the bottom lip a little fuller fuller, but do you see the dark spot in the middle? How that staying that dark spot is your really your most important part of the lip Just using this little blending stuff Eyelashes earned. The eyebrows aren't even in. So I'm gonna put them up here because that's where them this is where the brow is. Well, how do you do? Eyebrows. You know why? I just put a little line here for now, Dark in here. Maybe a little dark here, just adding little touches years. I'm just gonna go in the inside the years like this. For now. There we go. Like I say, keep the year simple if you want. Don't get complicated, but do Andi, I repeat, do have fun, okay? And we'll see you in the next part of this class. 5. Faces Draw 2: Some people don't have much space between their lips and their chin. This one I lengthened the chin. It was very simple how to do it. And I'm gonna show you right on this picture. How we did it on the chin came noticed the HB pencils. Great. This is where the chin waas and I'm going to just get that in there so you can see where it waas. You could see the depth from here to here. It's okay. And there are people like that, but I'm liking it a little better a little bit longer. This is where it waas right here. See what it looks like Looks fine. And this is what it's gonna look like when it's lengthened. Now, the reason I showing it this is because I took my little blender and let's let's just redo it. I'll just show you get rid of that. See how easy it is with this and what I did. Waas. I took my blender and I started blending down first just to see exactly where I wanted that chin. And that's where I came up with that spot there that I took my little stayed lor vinyl eraser erased the part that I didn't want cleaned up my lines and then threw in a few more soft, feathery lines. And I put in a little bit of a dent here, just a little bit. Some people have that and then took my little blender and soften the edges. If you want to soften the edges, that's very important to soften edges, especially on a portrait. And then I went up here and added some war pencil, not going for texture just for the shade. Now you can. You can actually go online and get pictures of hairstyles and do is really as realistic hair style as you want. So if you want to put a little texture in the hair, you can throw in a few lines like this following the con tour. The contour is the way it's shaped. You see how I'm adding, if the hairs all pulled together, it's going to be following a contour. Okay, next thing is the eyes. Now we call these Kauai's, and the reason why we call them Cal Eyes is because the white is showing all the way around . So what I'm going to do is I'm going to add a little more up to the top C and their eyes air fairly round. Very few people have white showing all the way around. I've done studies with students. I've had two or three students in 30 years who could make Kauai's. And that's when the white is showing all the way around. So there we go. That's a little better. And I dark in the top of the lid a bit. The top lid is comes out farther than the bottom. If it didn't you, you'd be crying all the time. Okay? And there's a little white highlight in the middle of the eyes so you can leave a little white showing there, and you might want Teoh take the years here. So you have just just playing around with a few little things. I think I might put some lobes on my years because I'm thinking I'm going to have some earrings of a sort. Not quite sure There. You see that little shape sort of coming out there from the ears, even if I just leave it like that for now. So you see, this creates a little bit of a shape coming out this way, which is very dicks. Could be feathers. You could do a little feather There may be so you might wanna break it up a little sea, See? Get rid of the hard edges a little more realistic. I think that looks a little better. And Oh, look at this. Oh, my goodness. See, just by don't be in a hurry to draw all the time and fuss. I think I have a shoulder coming in here. Look, do you see here? Just a little bit of an image of a shoulder or the earrings are coming this way? Might have to just put more here. While I can almost see that here coming in through that area. That's amazing. Just little more tone with our pencil and, you know, going around the feather here. Feathered earrings we have identified. It is a feather going around it with a little bit of the pencil. GHB is great because you can't go too far with it and you, but you really have to have good paper because you really rub it. You know, it's her jaw coming in here. Now do you notice it's coming like more like like that? Here let me accentuate that line just so you can see it there. And that is coming in here and coming down here. Very strong looking, uh, features here when some coming this way. Now. So maybe I'll take a heavier little graphite pencil. This is this is a lot thicker, dark and light. They see it's a little bit hard edged there. Um, really, like, I'm really pushing on this because I want I don't want down. When you bring lines down in a portrait, it brings the face down and creates a little bit of anxiety in the face, if that's what you want. So if you keep things soft and well blended, the emotion on the face will say it all up. There we go a little bit coming this way right behind her. And it's almost like the lightest this is spilling off the hair in the face. You see there, I'm liking it. Okay, Now you get electric racer, he racers, and you can go a long way with this picture. But I'm thinking I'm gonna let it sit for a little while and just look at it and maybe come back to it later. Put a couple darks in knows. Maybe a little bit for the nose. Just the bottom. Oh, I didn't tell you about the bottom of the nose. I've done nothing to that knows, Hartley. All I did was just smudge a little bit here. And if you look carefully, just put a medium dark pencil line for the nostrils. The nostrils air under here. The bridge of the nose is on top. See? So if I wanted to change the shape of that knows. But I don't because I like the shape of that knows I like that. The nose is just very subtle. See, now, as you bring it down this way, you're getting different forms. Here's the cheeks. Here, See? Look at that. Look at that. Start to see the cheeks. Don't be in a hurry. Take your time and add little bits at a time. Just little bits. You put a little bit of a light there. Look at that. Just just little touches there. Just put in a little vertical stroke here, right in middle. That creates a really good balance. And middle sometimes in a portrait. I know. I've been saying in the past the middle is not the vast place. But you know what? The middle gives the portrait. Just a few subtle little middle darks gives the portrait balance. Look at that. Starting to see or the next. See, I'm just talking to myself. Things were starting. I'm starting to see the image. I'm starting to see it now. Right there. See? Just balancing, Balancing, balancing a little bit of hair. I could have some hair whispering down here. Remember, I have not got a model. I am just looking at the image and allowing myself to start to see something. Oh, we got a sweater happening here. Maybe. See that. O si. Oh, look. Look at that. Look there. Look there. See? Just a few little lines. There we go. There we go. Hey, let's say you're not really good at close. Just get the outline. Turn it on the side of it. Well, a few more lines in here and where you go, I don't even add a color yet. No color. I think in her next, a little skinny there are. See? So remember, we come from the ear, so I'm gonna add a little bit more right there. That looks better. That was better. That looks better. Get excited here. Dark line. There. Okay, now she's got She's got this shape here, but she doesn't have it here. So I'm going to sort of even that off, and I'll do it with my blender first. Oh, that's because the hearings there see? Yeah, bring that hearing just of the way a bit there so I could even see the two sides. Two sides here. See, they're both the same. And now put the hearing in with a little swipe of the eraser. Much better feathered. Suggesting is way better than trying to draw 15 or 20 eyelashes. So I just put a little a couple little ones at the end like this. See? And there's my eyes getting down. You can take lots of time doing your eyes. The I browse just going toe suggest thumb there on the brow, and, uh, you know, people don't have the same I I've eyebrows ones usually longer, thicker, whatever. Got a few hairs coming out here. I like that. Just a couple. Maybe if you just see I mean, this could go on and on. I'm leaving a little Colorado later. Perfect. They would go 6. Faces PAINT 1: Okay, I'm going to show you how to bring it up to this level. Next with feather earrings, green blue eyes for 1,000,000 red in the hair and some crimson in the sweater. I'm gonna throw this in quickly. There it ISS. There's the earrings and the eyes and the nose and the mouth, and we just leave the chin away. It ISS and we have have a little neck. Looks like a younger version of her. I'll take a little blue and put it a little bit in the background here. I'm just kind of simulating what I have here. I want a blue green background. Doesn't have to be like really bright green king at Matisse and Mary Cassatt. There they were, pretty much into bright colors. So I'm doing my color experimenting here. Let's put little green on it Now. A little more of this one. I like the portrait with Matisse, where he's got the green stripe right down the middle of the face. Okay, And what tone for her skin. It's all kinds of different skin tones. The light. Seanna, how about the hair? I'm just playing with colors and I want you to play with some colors. Find out what you like or this lavender. This is nice. Like lavender. Lavender knows well with pink. What color have are not used? I'm using pastel colors. I'm not using straight, dark, rich blues or reds. I'm not using black. What about the earrings? Feather areas could be bright orange. Different orange. I see you know when I paint. I like to have some big brushes and so little brushes, my squirrel hair and Asian brush. This brush is like 30 years old. I know it's dirty, but it's only stained with paint over the years. Robert Simon's brush. Very inexpensive, another Robert Simon's So pick the brushes you want, but I wouldn't use a teeny weeny brush. What you want to do is get the big stuff done first, and then you can zoom in with your number one or two brush and do some details. If you want. I'm going to take a generous amount of water. Just have a little cup because it's pencil. It will sort of lift a little bit, but it's mostly H B pencil. And in H B pencil will not come off as quickly as a to B now notice my squirrel hairbrush, which I paid about. I think 15 or $16 is very soft, and it's synthetic squirrel. Now there's my there's my feather. You see my feather there. So this is where it might take a smaller brush, and I have my rag in my hand, always good to have a little towel or rag just to check and see if your brushes clean. And now what I'm going to do is I'm going to come under here, and that way I can come right up to that feather with the wet. Now you notice I'm not getting her wet, and you know I like this angle here. Don't be afraid of things were different. One eyes bigger. One. I smaller honestly. Just look at a few of Picasso's pictures of his dear ones. No wet my paper and it's soaking in. I can feel it soaking in and I haven't touched down here. There's a there's a bit of us. I think that's where it hit the racer. This is looking good, just topping it in. OK, is the paper wetter? Dry here? This paper was dry, so I'm going to stay away from there. And I'm just gonna put that light pink going to come right up to the edge. The English people, when they started water calling, did thing called lacing. And what it was is they leave a little white edge next to everywhere they would. You know what? That's I'm leaving That like that. I like that. It could be like Kashmir. It's got a nice texture. There's that little center mark. Be something on her neck. I like this. So did I really, really work hard here? No dry paper left a white edge. Okay. I'm thinking I'm going to stay with the small, this smaller brush now because the papers wet. Uh, it'll do most of the work. Now. I'm looking around on my palette. I've got this really nice blue green. I don't know what you would call it. You can come up with names. To me, it's cadmium, yellow light and fellow with a probably a drop of ultra marina. In any case, it's a great color. Now, notice that my board can be tilted very important with watercolors to know that water does run downhill. Not remember. I'm wet up to here, but this paper's dry, which is what I want on going for very thin bits of paint. Now there's my hearing, see? And there's the face. Did I went to face? No. So it's not bleeding into the face, and I'm doing a very controlled watercolor. I'm not going wild. I took my time on the drawing, and the only way that you can ruin a watercolor is by rubbing it to death. Let the paint spread on its own there and take a few layers. See, it's sitting in over here. See this little section here? I love this section. Just drop a little bit in and let it do its work. Don't rush it. Take a look at your picture. Is it saying anything to you? Yes, minus saying if there's a green background, I'd like a little bit of green in my eyes. Please. Now you have two ways to do this. You could take a pencil and do it, or you could just take a little bit of this green and just touch it ever so lightly in the middle of the eyes. You'd be surprised how just a touch of something. Whoa, You know what else she's saying? to me. She's saying, I'd like a little bit of that red down there. Hey, you could put C. I noticed that when I touched this, it went white. Now it's going back because my brushes wet but not soaking wet. So but I've picked up that little drip they're seen. Now I take this, which has so little paint on it, and just tap a little bit of color into lips. Lips are really not read. They have a little bit of pink or light brown, depending on where you're from. And then I dried off. This is basically the technique that the Vincey used on his portrait. Subtle bits of paint. Now this is drying, so it's still wet. Now I can drop in, drop in si, don't rub it in, drop it in capture. The line here may become a little closer here and tap tap tap and feeling confident that the painting the paint will do its job. And I'm just putting the paint on. I can probably have a little more here, you know. What's happening is that my paper is starting to dry. A little something for the hair. What do you think for the hair. What would you do? So you know this orange color? I know, I know. I was a little bit thinking That's pretty well, you know I am. I'm gonna put a light wash of Vermillion, which is a great read. Here's the vermillion. Let me just move over a little bit. You can see it for a 1,000,000. Vermillion, actually, is about the best read. No, Here's a little bold thing. Start with Member. This is wet. Start with putting it in a few places where the shadow would be. See if you want to spread it so that it has a texture of hair. Take a brush about the same size and tap it out. - Now what do I do after I've done this? Well, I put one more in the middle. Member are middle trick. I'm not going to do this. I'm going to stay away from there. Well, no, I'm going to stay away from there. I'm thinking that having this red in the lips would be a good idea. No, this is a shadow area. So I put a little stroke in there and father it up. I haven't even done the skin tone yet. Here we go. Listen, See, Get some hair Texture. Texture is very important in the picture. This looking good? She got a little bit of Ah, fair leaves. Angular draw here. But I am going to leave that. No, this is wet. See my mind? Oh, I gotta fix. This is not right. But look. What? Look what is right? That feather is standing out. Do the green blue again. Bring it over here and you can see it. Just a very small amount of the green blue. Hardly at all. And I'm gonna put a shadow on the top of rise. That's hardly even enough just to drop. There we are just two drops. See that? Just to drop on the top part of the lid. Perfect. Perfect. Okay, it's getting drier now, and I'm just taking the brush very gently and just trimming that little jaw. Look at that. That's all it needed was just a little bit of a trip. Now take a little more of that darker, that little bit of green. And because it's still a little damp, just drop in a couple little dark spots. That was quite a bit tamper. See? Look, at that. Well, that's good. You can't go wrong with little bits of paint. If you start putting lots of paint on, you may run into trouble. So that's my darkest area right there. See, it really does make a difference. And then I'm going to do one more dark green in the eye in the middle of the lips. I'm just going to touch it ever so slightly. Do you maybe need a little more? They're just look at that. Every time you add a little bit of dark, things change a little bit more up in the shadow areas. The purest colors should always be in the shadow area. When you have pure colors in a area that's being hit by the light, the light dissolves the intensity of the hue. That's just what nature does. So now you're looking for the balance from the red here to the red, here to the red up here. That's quite dark there. But you know the papers drawing. I don't want to get any red red will neutralize green and turn it brown, which is OK, so I want to really dry brush and make sure this brush is dry because I don't want any water going into here. It's still a little damp. I'm just going to take the edge of that. And I'm going to step elit around the outer edge. Very jet, That little line there. I like that. I'm not sure what this is, but who cares? It's good. It's in a good place. Gotta do one more thing. I gotta get the right caller for the earrings. You know, I could take that orange over here that pencil crown and do it. Do you think I should? That's pretty bold, Mr Movie. Do you want to be bold? Are you a man or a most? Sometimes the most. Remember? Which color was it? Was it that one do? That's too yellow. Was it this one? No, I'm kind of thinking it was this one. Yeah, so here we go. Wish me like I'll try a little bit first just to see just a little bit. Yes. See? Little bit. Little bit. What was my rule? Little bits. What was? Defenses rule little bits, little upon little building. But this one's in the shade. So I'm going to add the darker orange on this side. And the reason being is it will look for in the shade there. Look at that. I like this 7. Faces Paint 2: take a little blue now and dark and a few areas. I could warm this up with a better green notice how this green is better against the orange because it has a little yellow in it and I just faded out. Green Seems to the green blue seems to give skin a great boost. Now this is the cancer on watercolor paper, so you can put multiple layers on. Let's get a little darker down here, and it receives each layer without getting muddy. And that's what I like about it. So you can see I'm just putting in some darker paint Little yellow, little blue, and I'm keying my colors on the paper instead of mixing them on the palate, I'm keying them on the paper. You'll see how I threw a few callers down, and now I say, Well, I think I need it to fade up a little here. So I went it and to take a little more of the blue, and I'm just fading the color out right up to the top there. And remember, watercolors dry differently when you leave them alone instead of always fussing with them. So I'm going to go darker in this corner here. See just wiggling it in and leaving a few little areas so that it just pockets may be used . My little tilting method here. Remember, all colors can be adjusted on the paper instead of trying to mix the perfect color lecture colors mix. So you see that's fairly strong. Clean off my brush key in a little bit of yellow, stroke it over. Maybe even tilt the paper this way. Come around. That hearing take some water faded up is going to bring that over a little bit like that. Now her shoulder looks a little drippy, so what I'll do is I'll take my rag, a little water on it, come over straight. That's the nice thing about watercolors, as you could amend them very easily. I think losing it there's better like that. Maybe a little bit over like that. Let's take a look at that now. Interesting. Looks like she's quite long on this shoulder, so bring it down a bit. There we go. You just have to balance things. Both shoulders could be a different height. I can see it's a little dark too quick here, too dark here and not dark enough here. I had a little bit of blue in there. You can use any colors you want. I'm just using the green blue to show how great it looks against skin tone. I could see I could just keep going with this. I can see I have to darken the hair a bit. So I'm going to take a little bit of this color here and I'm going to dry brush. That's pretty bold, but, you know, I might just look at that. That's the little accidents or hard to get. So I think I'm going to keep that. Use my rag here. Put a few sweeps in here. I didn't do the eyebrows a little bit, are even at a little bit into the middle of the lips. Start looking around for where I can add wisps of air. Very interesting if you just use little bits of paint. I'm liking that shape there. Little bits of paint rather than copious amounts. Very small notes on the lips. Just about. See a little bit there, clean off the brush, fade the sides out just suddenly, putting on colors, top lip. Maybe just a bit under the I hear you're bitter. Rad. Look at that. Dark. Pretty cool. Oh, that's pretty dark. Gonna have a dark somewhere and then just gently faded out. That's actually a little bit of the blue in the red. So I'm gonna play with it a bit, and over here faded in, clean it off and tap it out. But I like this little section here. Probably wouldn't touch that. It's a little bit of just a little red in there. Yeah, that's what it needed. Paper started to dry, so I have to be careful. Don't get too too fussy with this. Oh, that's good. The hairs up here. There we go. You can see Just keep working on it and adding things to it a little bit. So you don't get out of control and it starts to look pretty good. I see. I still have my orange. I could use a little more on here. I think there maybe a pinch here just to pick it up. I'm gonna leave that and take the tape off. Taking the tape off, of course, makes it come alive. And you pull the tape away from the picture notice I'm holding it and pulling away. Otherwise, your tape will rip the pitcher. So taking it off, you know you can't leave it on this paper too long. This is the painter's tape, which is a very low tack, but some tapes are very high tack. They've got a lot of glue in them. They're very sticky, and you could rip the paper way. Okay, A simple little trick. All I'm doing is taking some of my green blue, and I'm just putting a design or what we call decorating the background and that you could use any college you want. But decorative effects like Matisse was the king of decoration. Mary Cassatt always put something some pattern in the background as it goes higher. You could just had to pure yellow. You could lay pink over this or your favorite violet or purple anything you want, as long as you get a little bit of a decoration in the background. A very small amount of the crimson just a little on the edge of the brush just to bring out , make the chin a little rounder and make it lose it into the bought him here a bit. There we go. One of these little things. It was probably a medical name for it. Some people have it, and some people don't. It's that little thing there and here, and you'll notice my chin is getting a little bit of a shading on the bottom right there. And now that that's wet, I might even go a little darker here. This is pretty bold. That's it for a minute. And then just tap it out. It's a shadow area for the chin. Now, if it's get a little dark there, I've just faded out right up in there like that. Just keep shading it off. A little shadow, maybe to the left of the knows. I'm just I just keep going on this because it's so much fun. Put a little bit of a red orange right here. Ah, yes, see little bold strokes here and their picks it up. You know this. He's a little shot of green right there. Picks up from here that little green just hint of green next to the orange, maybe a little bit in the eyes. The eyes are mirrors, a little dark spot there, deep crimson. A couple little spots here gives a little roundness of flow 8. Faces Paint Finish : finishing up with that couple dark sides just added a little bit of red to the blue. It's great to have some darks in your picture pushing the background. Anything dark in the background makes this stand out more. That's called contrast. You can finish your picture any time you want. Leonardo Vincey took 3 to 4 years to do the Mona Lisa Prisma color. You can add some details like Maybe if you feel after you've looked at your picture for a while, it needs a little wit thing. That means it might be feel little skinny to you on the head. Or you might want to add some some hair here. So the prisma color pencils super to work with. An interesting little trick is if you put white here, see that they lay right over. So if you wanted to add a little bit of light highlights, you can use white and works great. You wanna extend the hair a bit here. See, I mean, a painting really is a journey, and if you take the journey, don't be in a hurry to finish it. The journey continues, so laying color over with the Prisma color is great. That's how you can get some some great little pink highlights. If you're using that skin tone, he just lay it oversee, and we burnish it. Which basically means you just really lay the color on. You can use a Q tip to push the color in. You can add all kinds of different highlights with the prism of color pencils. The cheaper pencils won't work as well, so this is where you get the intense color into your picture. Let's say you're really an even sort of person, and you look at your I want those bangs to be completely even so you can extend a few things. Or maybe you want the eyebrows bush here or the lips redder or whatever. These pencils will definitely help you in your finishing stages of your picture. I want to thank you for joining our class today. If you have any questions, you can always get in touch with me. The teachers always available