Advanced Color Pencil Techniques for Creating Colorful Stylized Portraits! | Chris Hong | Skillshare
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Advanced Color Pencil Techniques for Creating Colorful Stylized Portraits!

teacher avatar Chris Hong, Artist and YouTuber

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

    • 1.

      Intro

      0:43

    • 2.

      Shadow Shapes

      9:28

    • 3.

      Local Colors

      6:36

    • 4.

      Bringing Life into Skin

      10:56

    • 5.

      Gradients

      7:05

    • 6.

      Colour Wash

      10:05

    • 7.

      Colour Opportunities

      4:26

    • 8.

      Hair

      2:50

    • 9.

      Reducing Paper Texture

      3:15

    • 10.

      Adjusting Contrasts

      5:03

    • 11.

      Outro

      0:31

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About This Class

Welcome! This class is a fully narrated demo that takes students through my colour pencil portrait process - revealing techniques for not only setting your portrait up for success by establishing a solid foundation to build upon, but also ways to inject tons of color and a personal flair to take the portrait to the next level and truly make it your own!

This class is broken down into 9 key chapters, making it easy to follow and navigate. It was created as a follow up to my Skillshare class, Steps to Creating Vivid Portraits with Colored Pencils, to reiterate the major takeaways in a more digestible format. It's not a prerequisite to have taken my full color pencil portrait class before taking this class, but I hope it will serve as great supplemental material to those students who have taken the first one and want to boost and solidify their understanding further! :)

Meet Your Teacher

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Chris Hong

Artist and YouTuber

Teacher

Hi there, my name is Chris Hong and I'm an independent artist who is mostly known for drawing and painting clowns and other whimsical characters! 

 

I just released my debut art book, Tumble, which is a collection of my works from 2016 to 2021! It's now on Kickstarter and it was already fully funded in under 2 hours!

Hope you'll check it out on Kickstarter! Here's just a sneak peek of what's inside:

Meanwhile, follow me be the first to catch my future Skillshare classes! You can also find me on Instagram and YouTube where I like to hang out as well. Thanks for stopping by, and I hope to see you in class! :)

 

Love,

Chris.

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Level: Intermediate

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Transcripts

1. Intro: Hi everyone. My name is Chris Hong and I'm back with another class. This class is a full process demo that serves as a follow-up to my first color pencil portrait class that reiterates all the major concepts and techniques from that first-class to help students further their understanding. This class is fully narrated, demonstrating how to set up a solid foundation for your portrait. How to easily establish a color scheme. How to inject color and life into your portrait. And tons more tips along the way to help elevate your portrait and truly make it your own. So grab a sketchbook and of course your colored pencils. And let's get started. 2. Shadow Shapes: So here is my pencil drawing for the portrait. As you can see, the drawing is fairly rough. You can see a lot of extra lines in there that I probably don't need. I don't necessarily feel the need to go in and erase everything out. I think some of those lines kind of lend a nice sketchiness to the portrait, so I don't personally mind, but that's definitely a personal choice if you want your pencil lines to be cleaner and you don't want some of the graphite to show through, then definitely feel free to take a kneadable eraser like this. And just like pick up some of the lines that you maybe don't necessarily need. It doesn't add to the portrait. Maybe I will clean up around the eyes a little bit so that the graphite doesn't impede too much when I go in with the color pencils. Just doing a scan around the portrait, going around with the kneadable eraser and just picking out some of the lines that may be, I don't necessarily need in there. So the first thing I want to do in this portrait is to establish shadow shape. And I'm going to do that first by picking a color that I want to use for the shadows. And what that does is it helps establish a color scheme for your portrait. And when I say shadows, I think the natural first thought for most people would be to think in terms of dark neutrals like browns or even black. But for me I love to pick a more unconventional color to use for my shadows, e.g. a, bright blue or a pink. If you are here, then I assume that you kinda familiar with my style and aesthetic. And as you know that I love incorporating as much colors into my work as possible. And so picking a fun, kind of unconventional color to use to establish the shadows. It is just one of my favorite ways to, one not only build a foundation to build our portrait upon, but as a way to, again, establish a color scheme for your portrait or right off the bat. Personally, I'm feeling purple for my portrait. So I think I'm going to go for a mid-tone purple. This is a purple that I'm gonna go with. So I'm looking at my photo reference and I'm seeing that the shadows are predominantly along this left-hand side here. So presumably the light is coming from over here. So I'm going to try to basically simplify and draw the outlines of the shadows. The boundary between the light and the shadow ARN aren't so clearly defined to the point where you can actually see a line. So this is where we have to use a bit of our creative liberties and just make our best guess as to where that line is. E.g. I'm going to start drawing in the shadow to show you what I mean. I'm going to start with this cheek here. In the photo reference. I don't necessarily see that as a line, but I am deciding to design it. I am making the decision to put that line here. This is the line that divides the light from the shadow. And I talk about this concept of designing your shadow shapes in much more detail in my actual class. So I definitely encourage you to brush up on that. If this concept seems new to you are still a little bit unfamiliar or so I'm going to go around and try to design this shadow shape. Once I have the shape all drawn out, I'm going to fill it in with this color. I see a shape like this along the chin. Again, I'm just trying to use my best guess here. None of this is really right or wrong. It's really just depends on, on how you design your shape. And this is the way I'm choosing to design my shape. You don't have to necessarily draw it the way I'm drawing it. Or portraits don't necessarily have to look the same. But notice that I am trying to create one large shape with this. And I am joining these shapes together. You'll see better what I mean. Once I start filling it in and I'm going to treat it like. As one big shape as opposed to all these separate little shapes. Part of this is definitely informed by my understanding of the human anatomy, of course, and my understanding of how light works. So it's definitely something that comes with more practice and studying. So definitely encourage you to do that. So I'm including this whole ear into the shadow shape that we see on this side. I usually include the eyebrows into the shadow shape. All right, I'm going to try to fill it in now so you can see what I mean. And I'm going to use a light hand to start because we can always build on top of this as we go along. And I don't want to create too much contrast to quickly. I'm going to also fill in the iris here. Before I do that though, I'm going to draw in this highlight of the eye. So I don't go over that because I wanted to preserve the white of the paper for the highlight. And similarly on this side as well, going to makes sure I don't color over the white of the eye. Because as you know, if you have experienced with colored pencils, that the white of the paper is quite precious. Colored pencil is very difficult to erase and lift. So any highlights or very light areas we want to try to preserve that if possible, and color around it. So as you can see, this is what I mean. When I say I'm treating it as one shape, I'm not saying, oh, the shadow on the lip here is a separate shape from a shadow on the nose. I'm feeling it all with the same color, pencil and in continuous strokes. So it looks more uniform and doesn't look disjointed. And it's also just quicker to do it like this. And again, I'm trying to use a fairly light hand here because I want room to be able to go darker. I want to be able to layer my colors as I go along. So what this does, establishing the shadow shape, as you know, color pencils are very buildable and layer trouble. So if I go over this entire thing with another color with the same amount of pressure, because I know I've already established this tone and color in this area, whatever other color I lay over top of it, this air is going to stay consistently dark. Then this area, if I were to go over the entire thing with the same color. And that is very helpful because it keeps the shadow area consistent throughout the portrait. I'm not constantly having to say I have to be very light handed here and then have to go darker in this area. No, I don't have to do that because I already did that work with just the shadow shape here. 3. Local Colors: So from this point on in the portrait, I think we are ready to establish the local colors. By local colors, I really mean, what is the color of her skin tone, what is the color of her lips, her eyes, her hair? I'm just going in with this kind of beige energy, light, medium brown color. Before I do that though, before I go in and lay this color all over her skin, I am going to block out the highlights. Some of the brightest points on the skin that I want to preserve the white of the paper, block out this highlight on her nose. I'm doing that just by drawing it out lightly with this color. I'm also going to block out this highlight on her nose or down her nose here. So the key with highlights is to be very selective about it. To not try to have too many going on because then the individual highlights don't feel as impactful. It's really a personal choice, but I will encourage you, at least in this demo, to keep the highlights as minimal as possible. I know this part of her eyelids here and down here, just under her lower lives, they definitely appear lighter in the photo reference. But in my opinion, the biggest, most obvious highlights are on the ball of the nose here and along the bridge of her nose. And I know some people are going to maybe look at her forehead and say, Hey, there's a lighter patch of color here. If I were to block that out, I think it would look a little bit distracting. And I think the better statement and the cleaner statement would be to just keep this forehead as smooth and clean as possible. Alright, so I'm gonna go in finally with this color all over her skin. Notice that I did go in to that shadow area. And I'm trying to keep a light hand with it. Because again, I want to be able to build as I go. So I'm going to color around the highlights. And notice I am going into the shadow area. But It's still keeping its shape. It is losing its shape a little bit and I will bring back the shadow color to try to draw that back out. And that's something that you will kinda constantly have to do throughout the portrait to reinforce that shadow shape. I guess I could have gone a little bit stronger in the shadow, but I also didn't want to accidentally create too much contrast to quickly. Again, I'm going to bring back my shadow color and kinda reinforce this area a little bit. Now that there is more color in the portrait, I have more context and I can see that the shadow is not as dark as it could be. So kinda strengthening this shape. So I don't lose it because I don't want to lose the lighting statement. We need the values to be clearly different, to be able to convey that sense of light. So again, I'm going in with the shadow color and just strengthening this backup and bringing it back out. I'm not losing it. Yeah. Reinforcing the shadow statement is something that you'll have to do throughout the portrait as you continue to build it up. The more colors you have, the more information you have, the more contexts you have. And you'll be able to see, oh, this actually wasn't as dark as it could have been, or sometimes vice versa. Sometimes you will actually need to pull back a little bit, and that's just all part of the process. The path to the finish is not going to be so linear. You have to constantly re-examined and reassess how your portrait is turning out and act accordingly. Just strengthening some of the shadow area back up. Because again, I don't want to confuse it with the areas and the light. I don't want to lose the sense of structure that we built. So now I'm going to go in and establish some color for her lip. I'm going in with this more pink color. And again, I'm gonna go and block out the highlights that I see on that bottom lip so that we can established a sense of shine on that lip. And I will lightly fill that in. So at this point clearly the portrait still has a ways to go. The skin. You can see a lot of the white of the paper is still showing through. But again, I really want to build a skin gradually so that we can inject a bit more interests in nuance, as opposed to just taking one color pencil and solidly filling it out as hard as possible to make it as smooth as possible. It's not as instantly gratifying, but have some faith over time. We will be able to smoothen some of the texture out and really build on the portrait so that it feels more substantial and it feels more finished. Towards the end. 4. Bringing Life into Skin: How can we build on the skin a little bit more, give it a little bit more interest, a little bit more complexity to it. So something that I love, love, love to do is what I call bringing more warmth and life into the face. So our skin isn't uniformly one shade of color. Certain areas across the face tend to have a certain color cast to them. And oftentimes it is the cheeks and the nose and around the eyes tend to have this kind of warmer, cast, warmer color. And of course, we are artists so we can exaggerate this or not. But personally, I really love to exaggerate that. So I'm going to bring in an orangey color into the mix. And I'm going to bring some warmth along the cheeks here. So I'm just going to lightly glaze and glide this pencil along the cheek. If I were giving her some blush, makeup, just ever so lightly, I can always go darker, but it's harder to pull back. So try to be as light handed as possible. And our ears tend to be warmer as well. So I'm also going to bring this color into the ear, light handed as well. Also to let the, the colors underneath that I've already built up a show through. Hopefully you can see how that's showing through there. I'm also going into the nose. The nose has this warmer cast and it will be tempting to do that all over the picture. But remember, once you do that, then it won't feel special anymore. If we want these areas to feel special from the rest, then we have to be very selective about where we put down our colors and our effort. Alongside that, another great way to add some warmth to the face and therefore add more interest to the color palette of your portrait is to throw some warms in the under facing planes, planes that are facing the ground as opposed to facing up and into the sky. These under facing planes tend to receive the warm bounce light. And so by bringing some warmth into those under facing planes, I am basically creating the feeling and the look of sunlight in the portrait. All you really have to think about is what part of the face must be facing downward as opposed to upward. So underneath the eyes here, underneath the lower lids, I'm going to throw in some warmth in that area because that area is facing downward. And also underneath the chin here. I'm going to lay some warmth under here because that part is facing down and presumably receiving some warm bounce light. And also under the eyelid, the top eyelid. But that's also maybe just warmth of the vessels in our eyes. Eye socket, bridge area here. We can throw some warmth in there and also in the under facing planes of the nose. So basically like the whole bottom of the nose, I would just kind of glaze with the warm color there in the shadows. So basically, these under facing planes are in the shadows because presumably the light is coming from above. Therefore, the under facing planes are in shadow. So what this does by establishing this kind of warm cast in those under facing planes, you're really strengthening your lighting statement. Not only are you making the colors more interesting because we're introducing another color into the palette. But you're also strengthening your lighting statement because this warm cast in the shadows is what we would naturally observe. Sunlit environment where the sun is shining downward onto an object. So we're making our portrait not only more interesting, but also, I guess injecting more realism and believability into it as well. One last place that we're going to throw some of this warmth is. In the creases or the deep areas in the skin where light has a hard time getting into and therefore you see a dark shadow. So the most obvious crease I can apply this warmth into is probably the crease of the eye lids here. Line has a hard time getting into those creases and therefore, it is darker in those areas. And we can clearly see that in the photo as well. I'm usually these areas kind of present themselves as a line even though we know that there are technically no outlines on a face because these areas are so tight and light can't get through these areas. The shadows that are present is often so dark, we see them as outlines. And by the way, this shadow is called occlusion shadows with the same orange color. I'm going to just go in to the crease here into any kind of dark shadow areas like underneath the lip here. At this point, I think I'm going to go back and strengthen some of that shadow shape because I worry the further we develop the face, the light side of the face that we're going to lose. This lovely shadow statement that we've established. The shadow color that I was using initially was this one which has kind of light to mid tone purple. But going forward I'm gonna bring in this darker purple because I think at this point we're ready to go in a bit darker in order to be able to create some stronger contrast. So I'm actually going to look towards my photo reference. And I noticed that it is definitely darker beneath the chin here. So I'm going to follow that. I don't want to completely discouraged my students from using the photo reference. Definitely use the photo reference if you can. And if you want to, again, gonna go in with this darker purple to strengthen the shadow shape. I hope it's not too dark. Just going over some of these areas, some of the shadows. So something I'll mention about the hair. I often find when I'm doing portraits, whether that is in color, pencils are watercolors or in pencil. When I start to pay too much attention to the hair without having worked out the face. I end up going too far with the hair. I end the overstating the hair, and I find that portrait often looks more appealing when the hair plays a more of a secondary role to the face. And the hair is just a very simple statement. So that is why I am not really concerned with the hair at this point and I am treating the hair simply as one entity. For now, I will probably address the hair once I feel that the face is a bit more, figure it out. The feeling that this purple is a little bit on the blue side. So I think I'm going to bring it back to a more like a warm toned purple because I feel like this blue purple is doubling the color scheme more than I would like. And it's okay to make these kinds of changes as you go along and you see how your picture is coming out. You never have to feel bound by the decisions that you make at any point. You can always change your mind. Pick up a different color, different direction. So right now, I'm just kinda fine-tuning my drawing a little bit with this darker color, reinforcing the shadow shape and rendering out the features just a little bit better, deepening some of the very obvious darks in the photo, e.g. these like corners of the mouth. And this shadow underneath the lip here makes a lip feel like three-dimensional and makes it pop from the face. I'm bringing back this color that we used initially to establish the local color of the skin. And I'm now able to see what areas could be a bit darker. And I could go in a little bit harder, are a little bit stronger. Still keeping a light hand. But now I'm able to go in a little bit. Well, that's stronger than the initial pass. 5. Gradients: So something to keep in mind for your portrait that is going to add just another element of interests. Another element of movement is keeping in mind the subtle gradients in the portrait. So e.g. when we observe her photo reference, we can tell that the light is coming from this side down because the shadows are cast mainly along this left side here, the colors are going to tend to be lighter on this side because that's where the light is coming from. And then gradually the form as it turns away from the light and as it moves further away from the light source, it is going to turn darker and darker. So that's actually something pretty subtle and we might not necessarily pick up on that in our photo reference. But if we apply that in our portrait, that's going to add an added element of interests. Make your portrait feel more believable as well. It will just create this nice movement for our eyes to travel through it because it's not just like a solid Single tone of color. But there is just this like very subtle gradient. There is some variety. So that is what I'm going to try to portray here. So as I'm laying down this color again for the skin, I am keeping in mind that it's going to be lighter here on this side and then darker along here as we move towards the side here. So I'm establishing that by adjusting my pressure, how I'm laying down this layer of color. So again, darker, kind of along the bottom and on the left side and then lighter, less pressure on this side to keep it keep it lighter there. So again, you're probably gonna get very sick of me reiterating this, but I'm going to bring my shadow colors and again, to bring those shadow shapes back out. Because the more we layer, the more we add onto the portrait is just going to get a little bit lost over time. Don't want that to happen. So I'm going to go back in and bring out some of those areas back out. You probably have noticed that I have been refraining myself from drawing any outlines or many hard edges. And that's because again, I really want it to be selective with it. But by this point, I think I am ready to go in and start defining certain edges. So I'm going to just start defining certain hard edges in the portrait to fine tune my drawing and design. It's something that I can do throughout the portrait. Constantly fine tuning your design, constantly fine tuning your edges. I'm being selective where I throw hard edges. I don't want every thing to have a hard edge because then everything will feel outline. And I don't necessarily want everything to feel outline because I want a sense of believability and realism. But that's definitely, again, is a matter of personal taste, right? If you like a more stylized look, then you can definitely throw more outlines in there. Then I'm doing, I'm probably going to reserve some of the lines until the very end when I'm doing my finishing touches in a portrait. We've still got a little ways to go, but I think the bulk of the work is done. I feel like everything is in place. Features are all starting to come together. When in doubt, constantly check your shadow shape. Does a face feel flat? Does suddenly feel kinda loosey-goosey and not structured. It's probably because you're losing that lighting statement. So always check that there's a clear separation between the light and shadow. So similar to reinforcing the shadows, I'm going to reinforce the, the warmth that we established by going in a little bit more with the warm tones along the cheeks. Maybe I don't want to go overboard there. I definitely tend to have a preference for very warm cheeks and nose is so if that is not your jam, then definitely feel free to use a little more restraint than I'm doing. Use your judgment, understand what you can take and what you can leave behind. So again, trying to create a sense of that gradient, trying to stay darker on this side and then fade to a lighter tone so that there's this sense of movement and just added believability and adherence to how light actually works. 6. Colour Wash: I'm happy with how this portrait is turning out so far. I feel like we have a really solid base established at this point. I am starting to wonder like what my next steps are. And usually when that happens, I tried to make some more creative decisions. So let's do that. Let's make some creative choices here to make this portrait a little bit more interesting and inject a little bit more of a personal touch and an artistic statement than something that we can copy from a photo. Not that there's anything wrong with that, but again, I want to give you the tools to be able to do so should you choose to inject more of a personal flair into your work? What I'm going to do now is lay in a very light color for the background. But instead of just applying it in the back, I'm actually going to lay it kind of all over the portrait. And they're really easy way to do that is just to simply take a color like this, minty green e.g. and just lightly glaze it all over the picture. And what that's gonna do is in part some of this color over all the colors that we have already down established. And that might be really scary to some not going to turn everything suddenly green. It's just going to give a little bit of green cast so that the figure kinda looks as if they are in a green lit environment. So again, I'm going to just kind of lightly glaze the screen across so that in parsec color. And also what that's gonna do obviously is establish a bit of a background. I think what I will do a going back to the idea of establishing subtle gradients is I'm going to go harder with the green over on the top and then kinda fade to a lighter green near the bottom. So I'm gonna go in now with the green and I'm going to use a very light hand and just place it over. The portrait. Gonna be a little bit lighter handed in this area. Just to start, we'll see if I want to go in harder than that. I think I liked the idea of it being greener at the top. So it creates a bit of a gradient again. So it's not all uniform. So we keep things moving. We keep the eye moving across a portrait. And I'm being careful not to go too heavy on the actual portrait. Just in case that green is a little much because color pencils are hard to erase. I'm going into the white of the eyes as well, but trying to keep a light hand as much as possible. So I'm not going in too dark because I still want to keep these as highlights. So I think what I will have to do is go in again and make sure to bring these highlights back out by darkening around the highlights. I'm actually really liking how this looks with the green. Definitely making the portrait more exciting for me, which will make it more fun to work on. Like that decision of having it darker at the top there, more green than below. So at this point I think I really want to see the features more developed and finished. I'm just going to go in to the features and try to render them out a bit more through in some more contrast. Where I had kind of held back on doing that because I wasn't sure how dark I want it to go in certain areas and bringing that green color in the mix. Because why not? I always try to re, purpose all the colors that I use are bringing into the portrait because that is the easiest way to make all the colors in the portrait feel cohesive. If you'll seal all, bring in the orange back. So again, I kind of want to go back into the highlights on the nose here and bring that back out by darkening the surrounding area. So it feels like a highlight. Making the nose feel a little bit more finished or fully rendered by deepening the dark, darker shadows. Bringing some of that warmth back that probably got lost over time that we established earlier. I tried to color around this highlight on the lip makes the lips look quite juicy. Think I'm going to throw in some lines here. Finally, feel ready to do that. And this side of the face here, I love this like bright pop of orange on the top of the nose. Maybe a bit much for some again, but I personally love it. So definitely going to throw that in there. Also just bring this highlight back out again because it got a little bit lost when I was putting down the green. So you're always again, constantly checking or your shadow shapes. Still reading my shadows and highlights still reading like highlights. It's a constant adjustment throughout the whole process. I don't stop until the very end because the context of your picture is always changing. Going a little bit stronger. Now with the skin, this is the same color that I went in the first time. Throw some hard edges to make the portrait feel a little bit more finished and the drawing a little bit finalized. I know I'm probably jumping around a lot at this point, but I just wanted to remind my students that at least for me, the progress of these portraits, it's really not a very linear process because again, the context is always changing. I find I can't really stay and do one thing for too long. Otherwise, I might end up going a little bit too far, too quickly. So have to massage my picture to the finish. Throw some orange in here again. So it has kinda warm glow. I really like my decision of bringing the green into the picture. I think it definitely kinda cools all the purples and the warm colors a bit. And it feels more balanced this way. 7. Colour Opportunities: So I think the portrait is looking really good and I'm definitely feeling ready to bring it into that finishing stage of the process. So something I really like to do at this stage is just to find opportunities, places in the portrait where I can throw in more colors. And this is a technique that I talked about in the class, which is bringing in a third color into the mix. So basically, I look for areas in the portrait where I think I can introduce a third color in that area where there are two main colors present, e.g. on this transition here, this line here of the shadow and the light part of the neck. I think this area in my mind calls for a nice color in-between that transition there along the eyebrows here against the dark purple and the light part of her skin basically anywhere where you see two colors next to one another. I think a third color in the mix will make it even more interesting. So along this cast shadow of the neck, I'm actually going to go in with a warm orange color. And I'm going to basically, Let's just draw that in there like that. Instead of just lightly glazing this time, I am very intentionally drawing a line there to throw that third color into that mix along here as well. I think I'm going to throw that orange in there. I'm going to throw this orange here. I'm actually going to strengthen this shadow along the cheek here so that I could go in with this orange and throw that color along that transition because it gives more context to all the colors around it. For me, a really great place to throw in just a bunch of random colors I find is the eyebrows. I'm going to bring in this fun turquoise color on going off the screen here. And again, I'm not glazing this color. I am going in pretty strongly so that I can leave that color fairly intentionally. Instead of just glazing this color, I want a solid line of that color. I'm also going to bring this turquoise color to outline the portrait with are outlined some of the lines. I'm also, I think I'm going to layer the hair with it as well so I can bring it into more areas of the picture so it doesn't feel so, so unique, so it has a place in the picture. Why not? Let me just try throwing in this minty color underneath the eyebrow here just because, again, no rhyme or logic behind it. I just want to see more colors in the mix. Pay attention to some of the, the textural elements in the picture. So the eyebrow has some level of texture. That's why I just went in to define some of the other lines there. I don't have to draw in individual hairs or anything like that as long as we leave an impression of it, It's all good things underneath. Here. I'm throwing this minty color. So when you're doing this, when you're introducing more colors into the mix at this stage, when it's already becoming so colorful. The key is to not try to bring that color everywhere. I really tried to keep the colors almost in its own isolated island so that you can distinguish each of the colors separately. Otherwise, they would all just mixed together and create mud. I want to be able to see the orange and I want to be able to see the mins. I want to be able to see the purple. So that's something to keep in mind. 8. Hair: Alright, so I think now all we have to do is define the hair a little bit more. And I think this portrait might be on its way. The hair again, I want to keep it very simple and I haven't keeping it very simple. I've really just been layering colors on top of one another as I go. I do want to pay a little nod to the texture in the hair, but just just make an impression of it. So that's what I'm going to try to do. I'm going to pick this area here to bring out some texture of the hair. I'm going in pressing harder with this pencil and trying to mimic that curly hair texture. Hopefully, you're starting to see that coming through. When you want a darker value of a color, but you don't really want to bring in another color. You don't want to introduce another color. A great way to do that is to obviously just layer different colors together that you've already used. It's not like a rule or anything. You can definitely bring as many colors into your portrait as possible. But I do find the more variables you introduce, the more work you'll probably have to do to make sure they all work together. So even though I was tempted to bring in a darker color for the hair, darker than the colors that I've been using up until this point. I am trying to make do with the colors that I have used so far that are already on the desk to try to make that impression for the dark area of the hair. For this area, I'm not going to go in as as much as I did on that side. I want an area of rest. I don't want it all to be same same, all cross the hair because that's going to flatten things out. Again. Want to keep the hair more simply stated so that the face is the star of the show here. I think I'm gonna go in with this kind of toby color to darken the hair overall because I still feel like it's a little bit light. Because I guess I have neglected to establish a local color for the hair. I think that we'll maybe do the job there. 9. Reducing Paper Texture: So at this point, I am feeling pretty good and it's looking almost finished. We're almost there. But I wanted to address the texture. So I think texturally, if things have definitely improved as we kept their bring on more colors throughout the portrait, we see less of that paper texture. And things look a little bit smoother from earlier on. But I think I still want to soften up some of these areas so that I have some very soft areas contrasting against more textured areas. The hair, e.g. I. Kinda want to leave more textured because obviously the hair itself is textured. And I think because I don't want that much attention going to the hair. I want the hair to be a supporting role, but parts of the face, e.g. along the cheeks and the forehead, I do want to lessen that texture so that it looks more polished. And a great way to do that is to bring in a color like this, or a very light neutral color. This is like a beige, yellow color. Any color that is lighter than the colors that you're trying to go over top will help fill in that white of the paper and not alter the colors that you have down already too much. What I'm gonna do, I'm gonna go over the forehead, I'm going to go over some of the cheek here and the chin, and I guess the neck maybe, maybe I'll be a little bit more selective than that to fill in the white. So hopefully, smoothing the texture make the area look more uniform by filling in the white with another color, it will make that area feel more rich as well in terms of the colors. So that's what I'm gonna do. And, um, yeah, color like this, it won't affect the colors underneath too much. It's not going to lighten it to too much. But it will soften and kinda diffuse the textures. So it's not so noticeable. Yeah, the cheek area is already starting to feel so soft. And really I'm just just glazing this color over top, trying to fill in, fill in the white. The paper. While that actually makes a huge difference. Bring this up into the forehead as well. Some people might not mind the texture as much. But I liked the idea of having these contrasting textures throughout the piece. Maybe the neck, I will keep more texture because I don't want the neck to be a focal point anyway. So the cheeks look extra soft. Yeah. I think that's what I'll do. 10. Adjusting Contrasts: Making sure the eyes feel defined enough. Throwing in some eyelashes. Now, the finishing touches. Tempted to go in with a darker color for, for the eyelashes or for the eyes, for the dark. Darks in general. Maybe OLS try this just to punch up some. Might actually be a bit strong. But maybe yeah, maybe that's fine. I'm really feeling I need to punch up some of the darker values so I can leave my finishing marks and be done. Being selective as to not go over the entire thing with this dark color. Because after all, I want it to just be an accent. But I do feel like certain areas need to be punched up a little bit. At this state, I'm really scanning the picture and seeing what areas. Use a bit more contrast. Remember, I was being very sparing with it throughout, but now I have a better understanding of where I want to place that contrast. Dark in the iris a little bit, make this highlight pop. And I think I'm going to make this pop a bit more. I'm going to choose to highlight this I more than the other. That's another thing that I touched on in the class, which is to play around with the levels of contrast. The idea about maybe one eye is more unfocused and therefore there's more contrast than the other. So again, do not be afraid to constantly reassess your picture and see what it might need in order to inject as much of your creative vision into it as possible. So I think what I will do is try to diminish some of the darker value here, lighten that iris up a little bit so that this becomes R, the eye with the contrast, and this eye falls back in contrast a little bit to hopefully make that I pop a bit more. So I'm just going over this one with this yellow pencil. Bringing the values closer together. I'm going to actually do that here as well. I think that's really all that I wanted to cover in this demo today. I mean, there's always, always more room to, I think go further. But then again, maybe not again, colored pencil does have a limit with how much you can layer over top as the paper will tell you. And I'm definitely starting to run into some of that resistance with the paper. So I think this might be a sign for me to gracefully bow out and call this finished. Okay. I think that might have been it. I think that's it. For maybe one more, one more, one more. Kind of want to accentuate this little part of the nose here and the opposite side, but not using the same color because that would make it too symmetrical. I'm always trying to vary up, especially a front view like this. I'm trying to vary up the colors that I use. I'm not using the same color use on that side, on the other side, minus the top of the eyebrows here. But like e.g. I. Went in with a purple there. But here I want him with the orange. I could have gone in with a purple there as well, but I want to avoid making it all same, same as much as possible. The line that I outline, the neck here is different from the color here. Also to try to vary things up as much as possible. 11. Outro: So that is it for this demo. I hope you found this helpful and hope that there were lessons here that you can apply and adapt to your own process. Because now it's time for you to create your own color pencil portrait. Feel free to use the same reference image I did, or use one of your own choosing. Once you've created your portrait, don't forget to upload it to the student project section so we can all take a look at everyone's amazing work. Thank you so much again for taking this class, and I'll see you in the next one.