Creating a Mixed Media Face With Paint Pens | Cherie Burbach | Skillshare

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Creating a Mixed Media Face With Paint Pens

teacher avatar Cherie Burbach, Artist, Writer, Poet

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.

      Paint Pens INTRO


    • 2.

      Paint Pens SUPPLIES1


    • 3.

      Starting the Collage Base Layer


    • 4.

      Finishing the Base Layer


    • 5.

      Starting the Face


    • 6.

      Adding Shading to the Face


    • 7.

      Finishing Shading and Starting the Eyes


    • 8.

      Final Shading on Face


    • 9.

      Painting the Lips


    • 10.

      Working on the Eyes and Cheeks


    • 11.

      Painting Eyebrows and Adding Details to the Eyes


    • 12.

      Finishing the Eyes & Painting the Background


    • 13.

      Finishing the Background


    • 14.

      Starting the Hair


    • 15.

      Painting Her Dress


    • 16.

      Paint Pens CONCLUSION


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About This Class

Join Cherie Burbach as she shows you how to create a face using paint pens combined with other mixed media techniques like collage, texturing, and painting. In this class, we'll create a face using Pitt pens, music sheets, book pages, and other ephemera. 

Project includes:

  • working on a board or other hard surface (but you can also use an old canvas, piece of cardboard or whatever you happen to have around)
  • working with Pitt pens (India ink in pen form)
  • layering paper and other collage elements
  • creating multiple layers on a painting
  • using gel medium

Meet Your Teacher

Teacher Profile Image

Cherie Burbach

Artist, Writer, Poet


Cherie Burbach spent a decade as a freelance writer, penning articles for places like NYT, NBC, Family Circle, Christianity Today, and more. While she still writes, she now works full time as an artist. Art and writing have always been a part of her life, ever since she was a little girl. Creativity was a safe place for her and a way to work through a turbulent childhood.

A desire to offer hope and encouragement is the intention behind her art. She is self-taught, painting almost every day. She also writes poetry and other works, and feels words and images are closely tied in telling a story of faith and confidence about the future. She's published many books, including poetry, kid's book, and a novel.

See full profile

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1. Paint Pens INTRO: Hey, guys, welcome to my skill share class about creating a face with these guys. These are picked pens and they might look like markers, but they are India ink in pen form. The really handy for doing a variety of things. I love them for detail, work on faces or in other types of paintings. I love creating different types of skin tones with them, their blend doble the really lovely to use. And I'm gonna show you how I create a phase specifically over layers of paper. So we're gonna do a little bit of a mixed media element as well. So I hope that you'll join me and grab a couple of these for him. A little bit of paper and come and see how I create a mixed media face using these. 2. Paint Pens SUPPLIES1: So let's talk about supplies for this particular project. So first you'll need a few of these. These are pit pence, and you can find them at craft stores. Hobby sores. They come in a variety of sizes. They come in a smaller tip and a larger tip, and they are blend doble. They're really lovely to use for this project. I'm using some to create the skin tone the facial features so Eisner nose mouth. That means shading, highlighting and hair, and so you'll see the variety of paint pence than I use. You might want to pick up one or two if you're new to using pit pens and just try them out and see if you like them. We're creating this face over paper because thes types of pens are really lovely for bleeding, blending and creating a tone that goes over paper that allows those images that are underneath the pains to show through. Which brings me to my next thing. You'll need some book pages, music sheets, something that you can put down as the base for the face. What I'm using for this project is just kind of ah, a bunch of random papers that I happen to have around. I'm using scrap of paper music sheets. I have some book pages in there, so whatever you have, it will work just fine. Don't get fancy. Um, you know, maps, anything, that anything will work. T here, the paper down. I am using a regular gel gloss. In this case, I'm using Golden Brand and a foam brush. Now, this type of job loss is found again. And craft stores, hobby stores. Things like that, um, has a variety of different brands that carry this. Golden is the type that I'm using for this project. As far as the surface that we're working on, I'm using a canvass board which again can be phoned An art store. Specifically, I've seen them lately at craft stores, but really, you can use anything you could use cardboard. You could use a canvas. You can use a board that you have laying around. You can really can use anything. So don't worry about the surface so much. Um, we're gonna cover that surface with paper, which is how we start the project. So I'm really excited to show you this, and I hope that you'll enjoy working with pit pens and creating a face over mixed media layers. 3. Starting the Collage Base Layer: first step is taking some of the Joe medium and just brushing your entire canvas with it. We just want to give the paper a place to adhere to. And when it's when a board is not treated. Sometimes it it takes a little bit more job loss because it, you know, sucks in that material. If a board is treated, it might not take us much in my you might not need as much so just kind of experiment with that. But all I'm doing is covering this board, not worried about, you know, really, how much is going? You know where I'm going with this or what's going on? I just covering it all. And I'm trying to keep it to a thin layer just relatively thin. Um, just so that when I put these papers on here, they have somewhere to adhere to. I'm just starting the middle, I think. And the way that I like Teoh collage is I love to just refer cases. I don't cut. I don't worry about, um, placement. I don't really look at it that close. I just kind of do what I feel when I'm starting out now. Normally, with A with paper. Either It's thin enough so that it'll stick if you have a base on it or if it's thicker, it needs a coat underneath the paper. This is a really thin piece of paper, and it's going to stick just fine to the board. So I'm not gonna put any on the back of paper. I'm only gonna put it on the front to protect it, and it's gonna stick on there. This paper scrap paper, um, is a little bit thicker, so I will need to put some on the back of it to give it a base. So that's what I'll do. Put that here. So in these early stages, what I am trying to do is just cover the canvas. Not really thinking about the design that I'm creating our you know what? How the end is gonna look, you know what types of paper I have. You know, I just don't think of any of that. I kind of just covered. And I really don't worry about, um, getting every spot either. You can. I mean, there's nothing stopping you from that, but I usually don't think too much about that because you can always fill it in with paint , and you know we're putting. This is just the first layer. We're putting a lot over this after, and the reason you put the gel over the top is because then you can add the paint and then it floats over the top doesn't sink into the paper below. It actually adds another layer on top of it. Before this gets too far, though, I want you to see there's a little bit of wrinkles, a little bit of wrinkling here now, Generally, I don't mind wrinkles in my artwork. I actually think it kind of adds something so I don't worry about them. But since we're doing the face and I want to show you the space, I want smoothies out a little bit. So I am taking my spatula and I'm just dragging it over and shows just dropping it on the canvas and just kind of smoothing. And in fact, I have some paint left over from the last project, and it's coming off on there. See that? And you know what? I don't worry about that. All of that to me is just another layer that will add character So I think the lesson is don't worry, don't worry in mixed media, you guys mixed media should be freeing and fun, and you know we shouldn't be worrying about things. It's a good lesson for us not to worry too much about our art. It's a way for us to relax into the art and just enjoy it. 4. Finishing the Base Layer: and really collage if you've never done it. I mean, it's pretty fun, you guys. I like the thought of just kind of, you know, putting stuff here and there. Just wherever I feel like and then creating a picture after that. That's pretty. It's fine. And I am. You know, sometimes I am ripping it and making sure there's no like straight edge in this case. I use the straight edge against the edge of the board. You can do whatever you feel like now. A lot of times when I am doing this first layer, I use a lot of different papers. I mean maps and use a lot of stuff. This time. I really have just a few because I'm just want to decorate this canvas. But the focus is going to be on that face that we create. It's not gonna be on, um, the entire image, so I really just want to kind of create an area that we can put a face on, and I'm not really concerned about anything else. Have I ever said I'm concerned about something in these art videos? I do. I don't think I have. I think art is the place where you can relax and let it all go and just not be concerned about things. That's the way it should be, right? We should have one area of our lives that we're not concerned about. For all those warriors out there, raise your hand. I can't be the only one now. As I'm doing this, you'll see I have some blank areas here and here. These will get pigments, so I'm not worried about them. I'm not worried about covering every single thing. I'm only adding the papers because it's going to be a starting point, and it's just adding some interest. You know, it's a starting later, Um, and it's a wayto just build texture and build an image as you, um, collage. And as you build paper layers, you're gonna be able to get a feel for this canvas. And this image that you're going to create this mixed media face that you're going to create is going to come up with inspiration from all of this. So this isn't just random, even though it looks like it right, we can do things that are in a flow and relaxed, and still there is intention behind them. They're not just totally random. There's a purpose behind them, even if at this stage, when we're doing these different layers, even if you're not sure what that purpose is yet, a lot of times I'll start a picture this way and just don't really think about it. And then it's interesting to me as I create the picture later, Um, you know what? I draw the image and I paint. It's interesting to me to see the things that stand out in the picture that I didn't really think about, and they just kind of happened. And I think those are really nice surprises that happened in art. That's when you're kind of just going with the phone. You're letting it happen and you're not overthinking it. I have said this many times in my art videos, but being an over thinker, it does not help you in art. And you know what? That's a good thing. It's a good thing to kind of let it go and not worry about if something's too perfect 5. Starting the Face: So I have given this some time to dry. It's all nice and dry, and there's no moisture on it whatsoever, which is important when we're using these pit pens. Because then this gives us a nice canvas to start on where the pit pens don't have to worry about interacting with blue or to interrupt the drying process for the papers. So the first thing I usually do have some pit pans here. The first thing I usually do when I have a campus like this and I've got papers all over is I kind of just turn it, and I see where I want to, uh, put my little character. I've got some papers in the center here that I think the face of this character will go on really nicely. So I'm just gonna turning it just to see what I like and where I might want to put it. So I think I'm gonna put it right here, Um, and about a collection of plants. These are a variety that I'm going to use because I think they will create a skin tone that'll be nice. That'll go over these words and music sheets very well. So, um, let me just give you an idea of what I've got here. I have a walnut brown, a ivory, and the whites, um, white and ivory. Those types of light colors are always important when you're drawing a face because you need those highlights have a dark sepia, a green gold and a warm gray. And then I also have this one called light flesh. Now here's the thing about flesh color, and I'm using, like the air quotes when I say this. Here's the thing about using flesh colors in your heart. You know, this is what the paint company determines his flesh color. But, you know, we all have different flesh colors. And so when it says something like light, flesh or, you know, skin color, that type of thing, I would take that with a grain of salt and instead maybe use it as a base to create something else, something unique. So that's what we're going to use that particular, um, pigment for I like this because it's light and it works well as a base. But I rarely use this. In fact, I never use it, Um, as the final version of my skin tone on my characters. So I am actually going to use this, though, as the base. And I'm gonna use this just to kind of draw out where I want this little character to go. Now, you could sketch out on here where you would want your person to go if you could do that. But I prefer to work rate on the canvas and just kind of worked things and see how they progress from there. Now, what's interesting is Okay, so I've got this paper here, and this is coming right into the neck area that I'm using, and I think it's gonna interesting. So I'm leaving it now. If you of course, wanted something that was just a hat and and you didn't wanna have to have things like this dark paper underneath. Obviously, you put your person in a different place. I kind of like the challenge of having this there and to see what I could create from that . So I'm gonna leave it, and I'm gonna just lightly color in using a very light touch coloring this head. In fact, I might make the head a little bit bigger, not I'm looking at it. You've got some room here. Now you'll see that the pit pens interact differently on the different surfaces, which is to be expected. So we've got, you know, pit pens. On paper, we've got the light paper. We have the canvass board. It's interacting differently on all those, and that's perfectly fine. 6. Adding Shading to the Face: So that is base here and now I need to kind of mix some colors together and get a little shading, so I'm gonna put a little green gold. This gives this skin tone a really kind of, um, nice. Nice, deeper color. Nice base. You know, they don't suntanning. You've got a nice based um and I'm using this wallet brown as kind of a way to go over the outside edge. Now, you'll see that I'm putting this pit pens one on top of the other. Uh, you know, I am kind of putting all these together because these will, if you blend it with a paintbrush or, of course, I'm using my fingers or, you know, a paper towel Thes are blend doble so you can blend these colors together. They don't. They interact very nicely and they work just like paint. They are actually India ink. So they're not markers. They are paint pens. And, you know, right now, just by blinding those couple colors, we have a little bit of a flesh tone on there. We have a darker flesh tones. Let's continue this. Let's see what else we can put on here to make this a fleshy type, um, person. I'm using the dark sea Pia and drawing the these air. The shading marks where the eyebrows will go and then the nose. I'm kind of just just drawing out the shading marks, adding a little bit of shading here and there. And then we got a little bit of shading down there. Now I need to add a little bit of light. So I've got this ivory color. This is very subtle. In fact, it might even be a little bit too subtle for, um Before I continue, we'll see that sometimes I need to clean the tips of these paint pens off, especially when I use them because they are blend herbal when I use them on a darker image , for example, I get some residue behind because I'm interact. I'm mixing these and they're interacting together and staying behind on here, just like you would a paintbrush where you would put paint on and you'd have to clean it off. You have to wipe off the tips of your pain pen, so keep some paper towel handy. As I was saying, though the ivory because these this basis so dark the Ivory really isn't enough to give that white highlights that we're looking for. So I'm actually going to use whites to do that with, and that's works much better. And again, I have to keep cleaning that edge off because, you know, ending up on the tip of my paint pen, which is perfectly normal. That is what happens when we use these. And we just highlighting marks wherever where I would normally do with paints. These work just like, uh, paintbrushes with pain. So who have some blue on there? Okay, that leaves an interesting little We've got a little bit of a blue highlight on her. See, you never know what you're gonna get when you do these little portrait. It's our little characters completing some highlights in the forehead area. And I'm just using these pain pens just like, you know, crayons or something. I'm just using them to draw, as I would normally had some highlights. See, here. Now you see them kind of scribbling on here and I haven't done I'm some blending in a while , but I'm gonna do that right now. So as you put the paint on, there takes a moments and blend them in because it can feel like, Oh, I'm not getting enough paint on there. Really. You don't realize how much is on there until you work, and you blend this all in? 7. Finishing Shading and Starting the Eyes: I'm gonna do this is the darker CBS again. Put some more on here this way because I really need some more shading since we've got this darker, um, paper were the neck. I want to really see that neck area. We're gonna need to shade a little bit more. And I like what's happening with this nose and I area. So I'm not gonna do anything as faras shading darker. But I'm gonna add just a few highlights of the white, just a kind of get some later shading on there and also on this edge. Now, you can also see how lovely this works over the papers. And, you know, we've had the areas like, here's an area and there's an area over here where we didn't have paper covering this canvass board. So it covers these, you know, pit pens covered differently than they do over the paper. I think this makes for a really interesting portrait. You know, we've got that area in that one, and, um, I like that. So if you, you know no are noticing that there's certain areas that aren't covering the same, you could also, if you didn't like this for example, you could do some more collage. You could closure rate over here, let it dry and then go back over with the pit pens, as I've given it a few minutes. And it's nice and dry when I'm looking forward to put my hand over. This is, does anything come off and it doesn't so that means it's nice and dry. That might need more time to cure. But I need this layer to be dry in order to put the face details over it. Because what would happen is if I tried to use this Penn, for example, to make the I marks. And this area wasn't dry. It would then blend together rather than putting paint on top of, um and, you know, since we like what's going on here, we need Teoh and we want to keep it. We need to just kind of let it dry so it can continue to dry to cure because it's mostly dry and it's not coming up so we can move forward. And I have some white. In fact, let me get all right making a white that it's a little bit cleaner. Um, I have this white pit pan. No money. Use it just to this one's got a lot of gun. Konik. You make sure you clean off here, your pick pads when you don't know that. Otherwise, you end of like me where you have some paint on there. I'll clean that one later. Here's a here's one that's a little bit cleaner. So here we go. Uh, I'm using this just to create this I area and the white especially, you know, you can build it, but it it picks up the paint's that's underneath just a hair, and especially if this was wet, like on this other brush that I was using, it would really pick up the paint on this. Actually, you have to clean it, because the next time you go to use it, that paint will come off that color that you were using. So I always make sure you clean these Justus, you would a paintbrush. So what I'm doing on this white um, area is just building a few layers, and I am just lightly going over it just a couple times just to create a nice white area that we can put the eyes in very nice. We'll let that dry, okay? Because if I were to put the eye pigment in, it would pull up that white. And I don't want to do that right now, so I believe that Dr. 8. Final Shading on Face: okay, because if I were to put the eye pigment in, it would pull up that white. And I don't want to do that right now, so I believe that dry. But while that's drying, let's work on kind of the nose and mouth area. I have used dark sepia as a way to kind of create shadows and create definition, and I'm using that again. And I think I wanna put a little bit of gold choosing these colors because these air colors that are in the base of this skin tone that I've chosen and now that I'm doing just some detail work, I'm using them just putting them on and then blending with my finger, and I'm using them to provide some warship shading, um, in some more detail, and I must give her a little bit of nostril, and I like that. So I'm gonna leave it now. We'll leave that dry. There's a lot of steps to any kind of face or portrait that we paint, and through all of the mixed media techniques that we use, it's always important to let every layer dry because that helps you get the detail. If we would not have let this dry, for example, that glue that was underneath there would interact with the pit pens. And not in a pleasant way, but kind of like a gummy way that would make our picture look very different. So right now we've We've got this lovely base underneath here. We have music, sheets and words, Um, and we've got this crazy little dark piece of, ah, scrap of paper that's sticking out into her mouth area, which I kind of think is, you know, interesting eso It's so we've got a cool start so far. Now, let's work on the mouth area because we've got all this that we need toe let Dr. 9. Painting the Lips: um I like the pit pants for the fact that you have different tips. Like these air, smaller tips. They show you right in the size of the paint pen thes air. Smaller. These air larger. The larger ones have a larger tip. I have some smaller ones in various kind of pinky red s if I have any other red type, um, pigments that we can use for the mouth area. So let's see what I've pulled here. We have Indian Rad. We have a medium flash again. That's what they're calling a flesh color. Uh, there, meaning the paint company a middle, purple, pink and a pale geranium. In all these, I'm going to you and the white, which is always our highlight. I'm They used these to create a little lip area. Some kind of gonna mix them. And I like this very small tip because this area is very limited in sighs. We can't if I use a bigger Penn, I would struggle with getting the details on here as it is because I've got this little area. I have this little paint pan, and it works very nicely, so I'm putting just a upper lip and a bottom lip outlining it just like that. Color this in in the edges. Since this color is dark, I think it'll work nice for kind of the, um the edge high highlighting. And I'm gonna fill in a little bit with this geranium, which actually looks kind of pink in color. It's really pretty. And again, I'm going into wherever I used this Indian read this darker red. I'm kind of going into that with the geranium, So I'm blending those in. I haven't gone over with my finger because since this is such a limited area, if I were to go over kind of with my finger, I think that I would you know how she'd have some smeared lips and that might be a look we want to do on one picture, but I don't want to do that on this picture, So I'm just kind of using these paint pins as I put the pigment on there. I'm also using it as a way to blend together, and I'm trading off, and I'm just seeing what I like as faras color a lot of different colors happening, and I'm gonna put some weight on there I like to put white on the tips of my lips. Maybe a little bit on that bottom. Just a giver. A little bit of highlight there. So I've got these lips going. I've got the colors underneath. The white has picked up those colors going to go back to this Indian red, and I'm using it again to help blends. Now it's a darker color, but I'm also using it as a way to kind of soften and blend the colors that are underneath and in between applications. I am cleaning off the tip because even though this is a darker color now, the lighter colors are getting on. It's the opposite effect of what I would use what I would have happened with the ah white pen, which is that the darker colors would get on there with this one. Since it's a darker red, these lighter colors are getting on there, and we need to even them out. So we've got got a lot going on here, like what's happening? This is the middle, purple pink. It's a very pinky type of red, so I like that pink. Leave that highlight on the bottom a little bit go back to the darker red. Clean it off and I think it just needs a couple. Just a couple more highlights. I just want to go. I just want to get crazy. This is a crimson it says, but wait. Doesn't look like crimson Teoh looks. Looks like the pink looks like the purple pink. Uh, and it is more purple. Pink. Isn't it Funny how names of paints happen like this is not what I'm called crimson, but I like it for the, uh, what's happening with the lips. So I'm just kind of going over. That highlights. I like the different variety that we have here now. I have a lot of different layers of paint. I like what's happening, and it needs a little bit darker, but because you've got so much of the Lighter Inc underneath, it needs just a minute to dry. So I'm gonna let that dry. I'm gonna let the eyes dry. The knows I'm gonna come back in a moment and kind of finish up these features 10. Working on the Eyes and Cheeks: I, um I wanted to hurt a have blue eyes. I think those would look cool with the skin tone. So I just pulled a sky blue and a cobalt green. I like Teoh what I'm doing and I I like Teoh include a few colors. So I put the base of the eye. Here she is. She's coming to life now and then I'm gonna use the cobalt green just to kind of blot over Give her Isom flex my dad just gently You don't want to smear it. And already those eyes really pop just with those two colors. But, you know, of course, I want to put a little bit more in there. Um, I'm pull a greenish This is a light fellow green. Very light color, in fact, and I'm gonna blot it on there. And then we go back to that original blue that sky blue and blots more. And as as I'm blotting, what happens is it blends in so lovely those eyes air coming to life. Um, I like this. I'm gonna let it dry for just a second before I start futzing with the, um the rest of the eye and I want to go to the cheek area. While that's all drying, Um, you don't always have to put cheeks on. I mean, you know, when you're drawing a face, it's really up to you. I've done all kinds of things in the cheek area put, you know, little paper there. I put you know, some just kind of like dots, you know, that's kind of cool. Right? Um, but I am going to make her have just a little bit of a pink cheek. Go back to that. A medium flesh color. Uh, which to me is like a bright pink. So I don't know where they're getting medium flush, but, you know, take the color names with a grain of salt, and then I'm just blending in with my finger anywhere that I see has a little bit too bright. I'm going back over with the pink and blending it over. So she's got just a little bit of a cheek 11. Painting Eyebrows and Adding Details to the Eyes: so these eyes have had just a few moments to dry. You know, we haven't let them dry for a significant amount of time, but they're dry enough where I can move forward and especially because I'm just putting a little bit of the black in their groups. Told that I pulled Dark England into go, That's not black. Let me find a last time. Here's a black pen. So this is a pig pen in the smaller tip in black. Here we go shows up a little bit better. And I just put a little bit kind of a messy black spot when I'm doing eyes. I don't really get to, uh, formal about it. So I've got these black, um, spots in the eyes and they're gonna dry. I want to just work on her eyebrow quickly. Um, I've got some kind of cholera graft your wallet brown and I just want to give her some brown. I rose and I am just, you know, eyebrows are another thing I don't always put I rose on, um you know, when it comes to a face, you guys, you really don't need to do every single piece of face if you don't want to wait of drawing her, I rosen just kind of dotting and drawing them in. And you can. I mean, gosh, you can do this a whole bunch of different ways that might even add a little bit of a little bit of gold. She's got some eyebrows that blend in with her skin tone just a little bit more definition under that I. But that's generally you know how I'll do an eyebrow. And I won't always do eyebrows or the detail on a nose or the cheeks thes air, all options that you can use to personalize your picture. Just because you're drawing a face doesn't mean you have to draw everything. Exactly. So, um, I've got all this. Now we need just that little white dots that goes in the eye. Use the pit pen for that. There's generally a little bit of white what happens next to that as well. And now that I've done that, I want to give her a little bit of eye shadow. My girl needs some eye shadow, so I'm gonna take a darker color. This isn't, um, Indian Theory in blue. What's really a pretty color too. It is a darker kind of like purple Lee blue, and I'm gonna go right over the lid and then a little bit into the corners. So that's what it looks like. And then I'm gonna take another color time I take this gold. I think I'm gonna do that just to put the highlights in the middle because, you know, when we have our eyes, you know, if we have makeup on, there's usually the top part of your eye that gets the highlights of, you know, the light and that area is usually deflator, then the edges. So use that, in fact, it might you clean it off like I need a little bit off. Couple died. Some wait for help. I might even put a little bit of light on the edges to orange. And I am just carefully blotting with my finger. I mean, you know, I don't want to get crazy, but I like that highlights and I like where that's going. So I'm gonna keep going. So let's finish up these eyes now. Generally, I like to give my girl some some eye lashes, wants to do that. I always say these characters I paint have way more makeup on than I ever than I ever do 12. Finishing the Eyes & Painting the Background: now, if I wanted Teoh, I could also go over the bottom parts of the eyes. In fact, I'll show you what it will look like if I wanted to do that and I can create, you know, a more dramatic look on her. I by outlining the I with black. I don't always do that. Maybe on this picture it's appropriate because their skin tones darker. So then that helps the I stand out. So that's what that would look like wrapped, um, two of my favorite colors to use with fluid acrylics. One is teal. One is tightened buff, um, both of these colors and have tightened buff acts as a really nice base for things that acts as a nice highlighter and the teal. Because, you know, I have this skin tone on here. I thought the teal would be a really nice contrast to what's going on here, and I really like teal. Besides, it's one of my favorite color, so I'm gonna put just a few dabs just that much, and we'll start with that to see how much it goes. Fluid acrylics are very concentrated. Um, you know, it would be like they they have the consistency of acrylic paint that's watered down except that they're fully pigmented. So they're not, um, you know, they they're not water down in color, but they're watered down in how they go on in application. So the really your unique product and, um, Golden brand is what I use most, And you can put this out of right of ways you could, you know, take a paint brush and put it on. I really like using my fingers for this type of thing. So I'm gonna do that. And what I'm gonna do is just kind of cover up these areas where the board is, and it doesn't have paper. I'm gonna focus on those areas. I'm gonna go around the paper now where I get to like, if I want to cover this up, for example, I'm gonna show you how lovely this is. Put just a little bit of water on there too thin, and all the's fluid acrylics go over the paper. So nice. And then, you know, you can still see all the detail of the paper through there, but now it has pigment over the top. So they're really versatile. I mean, I just love fluid acrylics and, you know, since we are, I went over my neck a little bit. Since we are, you know, using pit pens. We could, in theory, use pit pens all around the background. But I want to show you another application that you know when were building these pictures . Because it is mixed media, you can use different types of paint and paper and whatever else. And often I use a variety of pigments when I am working on a picture. Now, when I put paint on the edges, let's say like I just did here of somewhere where there's paper, I try and take it and make sure it's part of the picture. I don't just put like, for example, an edge like that. I take my paper towel and I just dab on the edges to kind of bring it in a little bit so that it becomes all, um, just part of the picture where it makes sense weren't belongs. So it's not like I'm just putting something on haphazardly just to cover, but I'm building textures in a painting, not just trying to cover things up. No, I haven't used my Titan buff yet I'm waiting to kind of see how this teal covers and looks on things, and I'm gonna use it as a way to add some highlighting in a moment. But so far, I'm really liking everything that's getting covered here. I'm going up right next to the skin area. Now, I will probably put hair around this so I don't need to get too close, but getting as close as I can. Just so we have some background for a girl here, and I'm gonna take my paper towel. I'm gonna damn the edges. 13. Finishing the Background: now this is all Teal and that's fine. But I need a little contrast. And I already have my white or the Titan buff rather on there. But I want to pull something else just to give it a little bit of contrast. So just randomly, I pulled this crimson, which is actually kind of a purple e crimson. And I put just a few just a few drops because really, you need very little for what we're gonna do here, and I want to add a little bit of contrast. I have the paper going on in the back and I like that. Take some of my finger, you can see it's kind of reddish purple. It's really lovely color. And I like just putting it on with my fingers. And I like adding fingerprints to pictures. I just think it I just like the thought of, you know, putting my fingerprints in the picture because it's kind of like I feel like I'm you know, just putting my good intentions and, like, you know, blessings rate on on there and putting it right in there in that way. And oh, I just love that contrast you guys, I love it. You guys, you have to have fun when you're painting. So now I have the Titan buff. I'm gonna do the same thing on this side, and I'm doing it just to add a little bit of contrast just to break up this teal, which is a lovely color. It's such a nice base color. But, I mean, we don't want just hell. What fun is that? Just to have one color. So now that I have a little white on this side on a dab just a little bit of the red Now I've got a little bit of contrast there. I like all these fingerprints, but they are looking a little bit like the same things. I kind of wanna kind of smooth it out a little bit, use a little water. I want the whole thing to look like fingerprints for just kind of experiments, and especially in this area and actually going to get a little bit more of that paper underneath there. So I'm gonna take my water and kind of rub that off. Very nice. I think we need a little bit more ran over here. This is a very simple background I mean, I would normally Gosh, I'm doing this oven. Normally add a lot more layers, but we're focusing on the head. So this background for this particular project, you know, we'll do something more simple. I'll deal with the more simple How about that? Just for this project. Okay, I'm kind of like that, and I'm gonna give all this minute to dry. 14. Starting the Hair: So given our girl some background here and it's really kind of Ah, nice way to than frame out her face. Um, when we add the hair, it'll have some background behind it. So it's a nice way to finish out the picture. Now, I have a collection of really the same types of pigments that I use on her face tones, and I've added, And to that collection a warm gray and also a black. I don't know if I'm gonna use all these colors, but I have a collection of lights and darks that I'm gonna use to create the hair. And I'm gonna start with, um, kind of the middle of the road, Um, which is the walnut brown. I have darker pigment and lighter, but I'm gonna choose the middle color just as a way to give me a base for what I'm doing with the rest of the hair. And I don't know when I when I'm looking at her, I feel like I feel like she's kind of gonna have a little Bob Now, of course, with hair, um, you can do what ever you want to dio. I mean, you don't have to have lifelike hair. You could put, you know, flowers on her hair. You could, you know, leave it any kind of pattern that you want. You absolutely do not have to follow any type of rule or norm when it comes to creating faces and creating hair can do what you what you like. I knew what you feel, and so what I'm doing is I'm just kind of framing out her face and using this brown to give me just kind of a base that I can start building the other colors on top of, and you'll see that places where you had the paper will interact differently than places where you have the paint, and that's to be expected. As you add the layers for the hair, it will all come together and look cohesive. When you're building these initial layers, you will notice how these paint pens interact on different surfaces. I'm getting close to her face to put the hair on there. She's got a haircut that's real close to her face. This little girl you know, giving her some bangs. And I'm just using these as I would a cram. You know, I'm just kind of coloring all this in. And I like I like that you can, um you know, I like the versatility of these pain pens because it gives you a lot of control. Uh, you still have the blend ability that paint does. So it's nice. Now I've got this brown on here. I'm gonna go over with a little bit of gold. And as I'm adding these colors, you know, these colors are not going to It's not the same as paint, meaning that when I put these colors on here, they don't go over, they blend. And I like that you can create a lot of unique looks. But if you're looking to add, um, you know, colors that go over and our, um you know, real distinct what you'll need to do is let each layer dry in between, because as we're adding these initial layers, they're all blending together, and that's the beauty of these paint pans. So let me just keep working on this hair. Just keep adding some highlights and low lights, and we'll come back and see what she looks like. A the end 15. Painting Her Dress: All right. So I have my, uh, little Bob here cut going for this girl. I got to tell you, one thing I love about this, uh, face that we've created here is this little part of her neck that has, uh, the paper underneath. You know, I think when we're starting pictures, you know, that might not have been the spot that we would have chosen. You know, just so we look at that and thought, Well, I'm gonna make that her neck. But, you know, it became just part of the picture as we started creating the face, and I really love it. So just a side note. Um, So I have the little bob haircut for her, and I really like it, and I'm good with the layers and all the texture that we have. So I'm gonna leave that I'm gonna just finish up here by creating some kind of little dress or something for her here because, I mean, right now she has She just has a floating neck with nothing underneath. So I'm looking at these colors that we have. We have the teal, which is lovely. I like all the colors in her face and hair, and I like the darker kind of crimson e color especially right there. I like how that came out. So I'm gonna use that as my inspiration, and I'm gonna pull may see what kind of colors I have here. Gonna pull this magenta color and go back to this crimson, which to me, is more purple E, but it's called crimson. Um, and I'm gonna just use that just to create a very simple little kind of dress. Syria. And really, I'm just giving her just now, if I were doing this as a full picture, you know, I want to focus on the face area because that's the You know what? We're focusing on for this e course, but if I wanted to do something, um, in a regular picture and I'm creating her dress, let's say in a regular picture, I would really a You know, I'd add a lot of paper or lace or painter. You know, I'd add a lot of different things, but, you know, for the purposes of this e course, we are focusing really just on the face. And so I'm using this Justus away to finish out this picture and, you know, not provide as much detail as I would prop. Perhaps do if I was creating, um Ah, full painting from this. So my Abbott little bits this crimson to that kind of blend all that in. I do like that thes pit pans. You know, they go over her neck area and they still allow these music sheets to come through. So I love that. That can happen with these types of, uh, this type of pigment. I think it's just a really It's just a really cool boots. A little bit of didn't clean that off. I don't think it it. I love that. This paint these pigments allow us to create these types of textures. I mean, her kind of a little collar. Well, collar. As I'm looking at this face to, I see this little mark. Use the white to kind of highlight. There. You see this little mark that I must have, uh, done with my when I was blending my lips. Put a little highlight there. So let's finish out this little collar. I'm just drawing something very simple. Just finished her out giver. You go something whimsical and that's our little pen girl 16. Paint Pens CONCLUSION: So how did you like working with pit pens? It's kind of an interesting product, and especially in the mixed media use where we're using different types of papers. It's a great product to use blend herbal as you saw. Really versatile. Now that I've shown you the basics for creating a face and this type of project, I'm curious to see what you're coming up with. So please post your creations in our class project and thanks for painting with me.