Digital Painting Photo Realism in Photoshop

1. DIgital Painitng Photo Realism 0 introduction: everybody. Chris scalp here. Welcome to my videos. Um, I'm gonna start putting some, uh, photo realism tutorials up upon the site, and I'm currently making new ones. But these air old ones here, this is my first ever photo wheels. And to toil that I did a few years ago. I'm so it's probably gonna seem a little quiet. Well, shy when I put it together and trying to get into the groove it But I really wanted to share this with you before I proceed with the new the new material that's coming up really soon. I should probably point out also that this stuff is the raw deal. That means I'm a not being particularly, ah, picky about my recording and equipment and whatever. This is just straight up me recording with the microphone on the desk while I draw. Um, you know, probably improved my audio recording process as I go, but in the meantime, I just want to get the content out there first. See if I get feedback from people and see what I could do to improve it is a go. But I don't put the cart before the horse and I know just the way I work. If I think overthink it too much, I'll never get off the ground. So that being said, just prepare for all kinds of background noises and whatnot. You know, the dog walking in the room and whatever and you know, kids playing in the background once in a while and I tried to keep it, uh, usually try to keep it as quiet as possible around me, but it's good hard to do in the house full of a family. So but for the most part, help. The visuals will be strong enough for you to be able. Teoh, you know, get a good idea of what's going on with my techniques. And again, there'll be a lot more videos coming. Will be making some new stuff here this year, and, uh, putting him on this site. So right now you see a photo area Time lapse, a version of the whole painting as it's being done. Just put this on the front of the video so you could get an idea of what the what the picture is gonna look like. But this thing's about almost six hours long and literally I take you through the whole entire process side by side with a photo reference on the right and the art on the left. And I'm just creating this thing and extend my best to explain every little detail. I'm going through all the little tricks and photo shop and whatnot. But like I said, it was my first video. And, uh, you know, felt a little awkward at some points. And I want you to know that if you run into a spot where you're like, Hey, what the heck is he doing? He didn't make any sense. There are, You know, if I mumbled something and you want some more clarity, just email me so many male see scalp it Crisco dot com with any of your questions. And, um, can I look for an answer them for you. So I'm gonna go ahead and let this time lapse video finish up for you. Um, you know, feel free to watch the rest of it and, uh, and then I hope you'll tune in after this and watch the videos. Real time. Thanks for watching 2. DIgital Painitng Photo Realism 1: I have my reference. Little next to a blank canvas. My reference photo is eight by 8.163 300 dp I So I went ahead and created a canvas the same size. Um, that's just the size Thea Reference photo happened Crop Teoh. I usually start with about eight by 10. A 300 BP, I but there wasn't enough height to make a 10. So So I'm gonna start with the create a new layer, and this will be the layer that I start drawing my foreground elements in, which is the child. And let's get started. We'd like to start with an I. So I'm gonna start with her left time, try to place it in the same spot as it is on the reference photo dot the top of it here, which is a curve line. And then, uh, where the tear doctors kind of gets out straight calls down that comes up again and try to be mindful of the, uh, the slant that her, uh, the letter head is tilted. Okay, I'm just gonna sketch role loosely here first. Okay. There's the I now to get the second I when I like to do. Like to use that first, I as a point of reference a measuring tool. So I'm gonna just trace this here separate layer on the reference. So you what? I mean, and we're gonna call this, uh, unit of measure are highly with one island. So, uh, what I like to do is what I'm doing faces. I like to use that as a unit of measurement. To find out how many I links away is a particular spot in the on the portrait. For example, this I hear is about somewhere between one and a one and 1/3 1.5 islands away. So that means in my drawing, I would visually tryto i that up. Uh, this would be one I length and probably wanna have right about there. So let me get my brush. Turn back to black here. I'm just using a soft edged brush size down to seven. Um, So right about here is one I length and hears about 1/2. Maybe come in just a little bit. And I would just sketch that in there. Same as the other. The other eyes curved on top. And what they're tear duct we have. It's sort of ah, wine that goes straight out that goes down and then comes back up again. So there approximately is our loose, rough, drawn off sketched eyes, All right. And for the nose, Um, I mentioned like to imagine Ah, a line coming up from each side of, uh, nostril straight up. And I will give me an indication of how far in the nostrils are. And then on top of that, any defined how far down to begin drawing them. So again, I used the process of one I link, and I imagine it, uh, instead go across going down. And, uh So when I linked down brings you to about 1/3 of the way into the overall shape of the nostril about there. So on our drawing, I would try to sketch that in on that and go imagined where they black line. Is that coordinated? Coming. No doubt right about here. And the but not the same in astral shape of Apprentice E. We go right about there and then the same thing on the other side Here, come out. Come in about this fire and that angle coming about down right down about here. And that's loosely approximately where it would be in addition to that. And I would does the double check the and use the whole say, my length measuring to Ah. Imagine how why the noses and the nose is a little bit wider, that one highly from this particular portrait. You see, it's kind of the same over here, so that's I would begin to map out the nose, all right, for the actual nostril holes. Here, let me clean up this document, hero. Quick, get rid of some of these scribblings on there. All right? For the, uh, the nostril holes, They would, uh, pay attention to, uh, contours that I could find in there. Like like this, For example, I'd be looking for that contour shape. Um, and it also take notice of the fact that to draw the little parentheses in there that the top of that shaped the contours, like right through the center, right to the center of those fantasies. So through here, right here, um, I would draw that line in my mind's eye, and I would try to make sure that that found to her shape is in there. And then on top of that, I would just go in and loosely indicate the nostril holes. And just quick note. I don't actually draw these lines over my references. I'm just, uh, just doing this all this for the sake of the demo so that you can see can How I think when I when I drop my portrait, it's so, uh, Lebanon. Now I want a map up the mouth. So again, similarly, I'm going to imagine using something that has already been drawn as a measuring tool. In this case, I would I would say we used the, uh actually, winter knows. And I would probably, uh, you know, imagine vertically from the bottom of the nose. The nose with would be the measuring devices. Within that I would take notice of something. Obviously, For example, halfway down is the top of the upper lip. That's perfect for me to use so that in the drawing over here again, let the wits from here to here, I would visually imagine the he's allowed here that off. I would try to, uh, imagine that same same process in the drying and and then indicate that the top of the lip would be right about there based on this measurement here. So maybe down a little bit more, Let's see, really kind of mess with you a little bit. The illusion of not having all the other stuff there just kind of throws you off a little. So, um, so that that's what I would get the top lip. And then from there, uh, the, uh, I would use something like the, uh, uh, signs of the nostrils is a measuring tool in my mind's eye. I think that this is about 1/2 off, uh, half of the height of an actual side of the nostril. And I would use that to determine how far down to actually draw the mouth. And it looks like it's about the same down here. And that's that's how I would pretty much specially reason that out of my mind and then, uh, to get the corners of mouth again. With the process of imagining drawing a line straight up on the actual reference picture, I would be able to use the eyes to tell me, uh, how far down to actually draw that. So it would be about about 1/5 of the eyes right straight down right about here. Um, and here on this side of corners of the mouth, you could also, you know, pay attention to certain angles to help you. You know, find out where that is. And there's a lot of ways to use information within the image that you already drawn two specially map out proportions and where things belong. But that's that's pretty much the whole process in when I'm drawing with stuff. I do it so fast. I'm so used to doing a no so many years that I'm very quickly calculating, you know, 3 to 5 of those things at one time, very quickly looking around. And just John, take this stuff down as quickly as I My eyes are going back and forth, back and forth, back and forth. And I'm trying to relate information as quick as I can, but it's not something I do really slow. And like I'm doing for this demonstration here, I literally am darting back and forth and trying to calculate this stuff. The more you do it, the faster you get. Okay, moving forward. Here. Double check. This, um, this measurement I gave on the with the top of the people is I was just checking it out. Make sure it's right. Okay. Um all right. Next I am going Teoh, I want to draw the eyebrows. So similarly, I'm going to use the already drawn information to get my proportions now. So I'm gonna look at this as the middle point between here and here. So using that with us, um, measure one I length by the height of the island up, it's gonna be approximately the top of that eyebrow right there. And the eyebrow itself. Uh, if you were to go to the end of it, traced the draw lines straight. Now it would be, but this far out from the I. That's what I would probably calculate their how I would find the end of it, which is, you know, about 1/4 of the islands and the same thing over here. Slightly different because of the detail. Well detailed throw java because you see a lot of information down here with the eyelashes seating. But if you were to get on this line right here and calculate the middle point between here and here, it's it's right about there, So I'm gonna do the same thing over here and again. This width here, from top to bottom, appeared in the top. That's how I'm gonna calculate that eyebrow. And then, of course, again draw lines straight down and it's about 1/4 of an eye length out. This is about approximately right here, and that's how I would calculate that. So, um, and then the eyebrow here, let's go ahead. Let's sketch this one out. It was like a straight line on her eyebrow. That kind of starts to turn at the edge of the I. So I would do that on here and just sketch that end. Um, roughly that's that in a little bit back over here to the same thing. There's a There's a shape here. Let's take a look at the shape, something that I pay attention to a lot of shapes of shadows and highlights. I'm always seeing looking for weird, obscure, unique shapes and everything I've dry. So, seeing that, um, that's what I would focus on as I was as I would draw, this would make sure that little boxes there and that it took a little turn here and again at the edge of the I the end of the eye. It starts to come out. Come out, go down here to a little point. Okay. So, uh, real quick, I want to jump down here to the mouth. I want toe color that in a little bit because it's driving me crazy. It looks funny without that colored. And for some reason, so I'm just gonna color that in a little bit There. Here. Might as well take a look at that. Um, as I go along, I'll grab this much tool and push things around like this. Um, just to clean it up a bit as I go get rid of that stuff. I like to use this much tool. What often to clean up as well as the racing took the razor tool. Um, was it back out and I'm gonna get rest of these layers. Market players on the reference photo off we keep Ellen hoops. Look up. Okay. All right. Now the mouth is a little funky looking, but not leave it for for the time being, we could hurry up, map out the rest of this face. I'm a jump over to the eyes. look at the outer edge of the iris again. Use mapping from existing detail and say that inside of the inside of the eye itself, about halfway through. But halfway down is the edge of the iris on this I So I'm gonna just roughly hedge that in there, make it a little bit around both at the top of the bob. Uh, the iris goes underneath the lids, top and bottom. And over here, there's just a sliver. Well, triangle there. But I'll go ahead. Let that trying will be right there. How the middle try. No, there's a little, you know, to Dr Ealier. 3. DIgital Painitng Photo Realism 2: in the middle here is the pupil. We just kind of loosely draw that in. Indicated Go back on that later. Clean that up. Um, I am gonna go ahead and color that on in a little bit because it looks weird to me if it isn't who kind of distract me as I'm laying with stuff out. So there's that. Now, over here. Here it was half here. Doesn't look like half because you got the illusion of all this extra detail coming off there. And the way the angle of the detail goes in the lights in the shadow these air darker eyelashes than with sunlight is doing over here is like, I have throws off the proportion in a little bit. So if you were to imagine, you know the same thing we imagined here for the half point it would be right about here. Se was here, and, uh, you know, you could also just try to tie it up, which would be right about here. And then you go ahead and drawing this. This detail here drawn little indication right about here. Okay. And then looking at the size of this people, you've got to kind of look back and forth, make sure they're the same size and again draw that pupil in there. Yeah, I'm just doing this really rough, really loose for now. It's to get this stuff laid out. And, um, you know, we can't rehab and get to the next phase. So with that, I also want to go ahead drawing these lines for the island's pay attention to certain things. Like when you start on this one. It's straight up from the, uh, edge of the tear duct, and then it's very thin and it starts toe widened. A little bit of it comes around. So we want to pay attention to that kind of detail about here. Was it myself? So that same side. And you can also pay attention to the fact that this is, if you would divide this part in the third's oops. That's about how high to go here. I'm constantly using spatial measurements from detail. It's already drawn, is about something here that's very narrow, and it's a little bit wider. And then again, you can use that as a gauge for how, how much of a fraction to go up there for, uh, huh? It, um I'm gonna draw the side of her face. Do that again. Use. Let me guess. This time I'm Jozy knows wits. So what I mean by that is this is from here to here will call that a nose with. So it saves one knows with and a little under half. So over here, here's one. A little under half going to then throw that in there. One if on, uh okay. Right about there. Okay. And then there's a kind of line and go straight up and down, literally. See, it's very straight up now. Vertical a slight turn rate right at the edge of the I along the eyebrow there. Okay. And then I'm gonna mark the chin now. So for that, I'm gonna use at this point change my color here. This point to this point in the middle of that is right about here. So I'm going to find that on here at this point to this point. That's what I'm looking at here has about the same as this point to this point. That's right about there. Excuse me. So, with that, I'm going to try to intersect this. We could say that this to here? Here, here is the nose length. Just kind of Mark that there. And use that as a tangent. Um, and then look at the angle here. Try to draw some, you know, similar angle there. And we could also decide to indicate where the curve starts to happen. It looks like it starts happening right in the middle between here and here so you can start turning right there. Um, fatten up my schedule and they're gonna need a little bit of give or take. And then just round that off real nicely around that little marker there. And, uh And then there's this line here, which is another. I will say another note knows length. So let's play about here like so and this to here to here. Let's see if we can, uh, that's if you can use the mouth. Hear, hear. It's just a little under a mountain link my mouth length, but that's ah, mouthful to say so. Mouth links would be right about here. And then that that would come in right about there. And for this point here, um, I'm gonna look at the I and my eyes based kind of right in that little red area. That's the end of my eye length. Uh, literally one I length over. So, um, too much further, Um, looking at this, what we have so far, I am noticing there's a difference between this gap and, uh, this calf escapes considerably more. Something a kick this over bit. See if that helps. Uh, don't want messed up, but I got going on over here would be using some proportion ing techniques over here now. And I don't want to get messed up there, so it's gonna move this over a little bit. See, this? Looks like that. So that looks about right. I think I have a tendency to, uh, draw things a little bit bigger when I'm drawing a picture that starts off looking like it's the same size. And then somehow it just gets bigger and bigger, so hopefully it doesn't happen here. But if it does, we can always you know, the free transform, like so, and size it back where it's supposed to be. Uh, Miss Chin looks like it might be a little bit a little bit long, So usually I'm just gonna try street a couple of these things out before we go too much further. All right, Now I'm going to, uh I'm gonna try Teoh to all the sides of her hair. Uh, so first, to get to the top, to find the, uh, top, I'm going to I estimate that this point here to this point exactly half should be the same . Remove it about there. So it is. That's about the middle point of the the middle point of the whole entire head. So again, here, to here it is saying, is here to here. Okay, so I'm gonna mark that, and, uh, looks like here to here is about the same as an eye length. So I'm gonna just Roughly I then end, and I'm gonna try to just focus on this angle and a slight contour and sketch that in there and then this angle here Hi. That up. I get as closely as possible at the same time I do this. I'm trying to pay attention to another shape and make sure that this is in there right now . Minds looking a little small. I'm here to here to here to here, so we'll keep an eye on that I may have nudged the whole thing over a little too far, but we'll see. I'm gonna leave it for right now. I might just nudge it back in the meantime on that. Come over here. Look at this. Um, looking at this, I see now that may have made this line too far because it's more of ah one to onto Yeah. 1 2.5 1.5 1.5 Knowsley. Probably more like that. And this this thing here is giving me is throwing me off because there's all this extra information in here and it's hard to focus on the the I length visually over here. I wouldn't traced it. You know, I used it as an actual device to measure it on here. I'm doing in my head. So, uh, so what? Sleeping? Fix that. Like so get a little sketchy here, okay? And then this from period here Looks to be well, I lengthen 1/4 or I link the third, so I'm just gonna lie that up in there, like so I also wanna be conscious off this over here. So it's It's almost halfway. Just about the I get about halfway right here. Go down at an angle. Mindful of this shape as well. A little bit of, ah, angle Contour. This this goes up like this. But if you were Teoh, imagine a contour study from here to here. It goes something like this. And then there's this little gap in here. I would consider this shape to be grandpa here and then rounding this off. Like so. Like like you see right here. So this rounds off just like that, and then this turns goes that way? I think so. Again, I try to be mindful of the space between here and here as well. We'll see how that works out. All right, I'm gonna bridge that. Okay. And over here, we have this, uh well, imagine an angle right here so that we can that get the lips, get that bottom of that here in Iran and about there. Okay. My brother sent as well. It's a little sliver of space between her hair and her face, and then the haircut line. Um, it's crooked. Um, it goes straight across, but her face is tilted the sex with my daughter. She has, uh, his autism So now you know, we actually couldn't give her haircut. She would freak out and throw tantrums and just go. Not so my wife would. And she was this little She would, uh, have to cut her hair when she was asleep and often result in cooking haircuts. So I think what I'm gonna do is I want to straighten that out. I'd rather have a straight, uh, nice looking hair. You on this particular portrait, Somebody race that eraser tool there, and I'm just gonna draw a line there. And somewhere in the middle here is the predication of the parting and then right down the center of the nose. It's a good indication of where that edge of that side of the part is. And if you go straight up with C was a good marker. See? Middle of this straight up. I know this straight up. It's about where the let's see about their things still doesn't look right to me. I went out too far, but go ahead, Mark that on there, looking at the size of this triangle compared to mine over here 4. DIgital Painitng Photo Realism 3: and it's and I quickly glancing around and noticing all these different shapes of things. Oh, making sure everything lines up. Okay, All right. I'm looking at this now and there's a few things I want to just dark my eyes back. Of course, seeing things that look a little bit off eyebrow here, my looks like it's sag and something terrible. So I think what I can do is so like that with the lasso tool and hit free transform, which is command t and my Mac book over Go up to edit free transform. Well, that up a little bit. I don't know if this is right and just looking at this angle here, it seems like I'm just saying about little bit here. Maybe this comes up here a little bit more and oops, this comes down here a little bit more looking at some of these shapes and hearing these indications, Maybe this I maybe this guy is a little bit more brighter than what I have. I wanna make sure everything's in its right place before I start going heavy. It's for mega detailing hair, and he's got some bright eyes here. Won't make sure there are prominently captured my life looks a little funky. I left it alone just to get the everything laying out. But it feels to me like, uh well, let's take a look at that Real quick was going there. Just a quick look at it. Um, looks like I should first of all minute pick my eraser. I'm just gonna dust over that. Erase it a bit so I can see what I'm doing. A little bit of keep it there. So I can, uh, see my lines when I knocked on those back a little too and, uh, see how big it is. It's a quick a quick bit. God, you're bigger than what I have here, which probably will affect the chin to cause I use that as a unit of measurement. But let's just do this mouth first. I'm going to look at the shape here, pay attention to this line right here. You know, I don't have anything like that going on. I kind of wanna have this, uh, pay attention to these contours right here and mimic them as close as possible. So I'm just gonna I that up right now That's gonna be right approximately right here. This little section here and I'm just paying attention. Just a little smidgen and then starting right here. It just goes up ever so slightly and they come to the middle. So I'm trying to imitate that right now ever so slightly in just a little bump there. Okay? All right. Right through the center, light up with the center of the nose. And then we're gonna come down on an angle a little bit there and stop right about here, even with that part, part of the nose and the answer to come down pound right about here. Let's see right up to there so we can overshot that before right about there, Okay? Assuming the nose is the right proportion, but I think it is. So the bottom is almost a straight line. Almost. I'm gonna do a little tiny bit of ah, little tiny, little bit of ah, width right here, right here. So if we just consider that put that in there and then right here is just a little beak safe right there. Put that in there. We could just loosely and a mark that go across there, make sure that These are the same wits. Here, Here, here, here on. Then I'm gonna put my eraser tool. Uh, just use this dab shape for us like a brush tab and just kind of skin that on there and get rid of some of that extra. Get rid of this little bit here. Some of this here. I opened up my brush settings checked without real quick when we got going on here. Has turned Pemper surround on both of those. Yeah, okay, on, uh, back to the breast tool. I'm gonna use that same dab brush. Um, that's, you know, let me bring that up one of these things here on it. It's officially number 45 on their their brushes. I'm just gonna size that down a little bit color than in a bed. Okay. Use the smudge tool. Um, I picked same kind of brush and just kind of do let up a little bit just to soften it. I'm not sure if quick time is the video capture of not sure if it's recording. Um, the cursor doing this or not. I checked a couple of the previous video and it didn't look like the cursor was coming out . So I hope this is I hope you will see what I'm doing here. Okay, Well, there, if that's good enough for now on that. All right, Now, looking at the looking at everything. Oh, let me line them up here quick. Yeah, looking at the proportions of everything. It here's the chin is definitely willed it off course here. So I'm gonna turn that down a little bit. The eraser tool, the whole mess. Either Breast tool. And it's like a threat about here, here and here. Like so and, uh knows. It's just from that back. Just a smidgen There. Here, in here. Good enough for now. Forward. Okay, now then, um, back to the brush. Still. Come on. Drawing the rest of this foreground stuff like her coat. So I'm going to take a look at this shape here, and, uh, I'm gonna come down from her corner of her mouth right here to here, and I'm just gonna place a little dot right there as if this tangent came down like so. And let's see. I'm gonna try Teoh, try to figure out a little space right there for that. Just by that up well right there and just draw an angle down for that part of the color line. That up. And this part here, let's see. What wouldn't can I use just kind of down from here? You know, that's That's pretty pretty good indicator. Slightly out from the mouth. So there's that, um, what else? Today? Proportion out here, I guess this thing here, third into the mouth, come down here, threw it in the mouth, come down to here and then drawing up to that point like that. What's not like that? My stool. Hope like that. Here we go. Maybe come in just a little bit here, okay? Trying out this stuff? It's accurate. I can get it. This is about, well, fever. Imagine. Let's see. Let's take looking for something to use Is a unit of measurement to get accuracy read on this, I guess. I guess I just have to fudge it in there. Figure that out in a moment. I guess this is kind of on the edge of the mouth a little bit past It may be this point at this point. With this point, it's a good checker. Her a good marker for checking on this straight up goes right into the white of the eye. Appear so Yeah, Like I said earlier, it's good to use, uh, stuff you've already drawn is coordinates to map out other coordinates. We better out of the way there. And let's see. Let's see. Let's see, I think from here to here, it's destroyed by that up. And then this. Yes, that the I would look at that is a tangent would be a good indicator. Okay, so they like that. This thing here, e I guess you could come up with the tangent right about here and market like, so goes a little bit into the chin. So we come out from here and then go up, and then there's a little piece of hair there. It's a pretty good marker for that. Then there's a little triangle down here, so I'm just gonna I that one up? I think so. All right. Getting close to having the basic figure fleshed out, and I hope I'm being clear. No. One. Probably not totally clear, but I'm trying to relay sort of with my mind's eye sees when I draw. I have never taken classes. How are classes. And, of course, I don't have a verbal technical understanding of what I do. This is the closest I've come to. So I think this doesn't make sense. Please feel free to send me an email saying just won the world Were you talking about on that one video? Just give me a time marker and tell me where I wasn't making sense. And Allah try to clear. Not best I can. So, moving right along, uh, let's see the sight of her face here, But he used that as a marker for the edge of this thing. It looks like a little pine tree. Um, what about here? And then halfway almost halfway through that the point that I'll use to find that on that line. And then I'm gonna look here for a for an angle to get that little piece down there, Have you a little bit closer and, uh, something like the head. Hold on one. Think it. Okay. This thing here used to come down just a little bit. A little piece, little sheep, their pay attention, that it's kind of important. There's a little line there. Um, these air like important details because This is like right in the center of her coat buttoning up. I want to make sure that it's properly proportioned. Same size. So we got this. You got this. So this line doesn't need to be here. Clean that up a little bit in there. Okay? Think so. And then there's the seatbelt here. Kind of even with her hair, Same tangent, this little triangle here and it kind of comes down, like so about there takes a turn, like so. And there's this little on sheep. Mine's just a little bit off. We'll leave it for now. Um, and I'm gonna get this little piece of the child safety seat in there down to right about here. Oh, wait. I just remembered something. I do not like to draw my characters with the background elements. I'm gonna just leave that off right now. We're just doing the foreground elements. So sorry about that Right now. I'm gonna go around and, uh, just close all the lines. Make sure the lines are closed, like so there's no holes. Okay, it's a mile. Take a look. Okay, cause I'm gonna use that magic. Want tool. Select outside. Hay que to check my selection. It's there. And thank you to get out of quick mask. I hit select, um, in verse. And then I go to my brush tool, go into color mode, get a light gray, and then I like to color it in with color mode in any style. Brussel working. Just cover that in probably faster. And your, uh, computer if you just use a hard brush. Um, here we go. So now we have have a floating layer of the foreground figure and then in the background layers where I will draw on the other stuff. Like to see seatbelt, etcetera. So here we go. I'm looking at this again. I'm seeing some more modifications I want to make. This knows seems more tilted in mind as grab the nose with the magic wand Tool hit command C command V, which is copy paste. Rotate that a little bit and try to make it look as much like the other one is. I can. And there's that looking back and forth Now just checking it. Maybe nudge it now, Just a hair. Now that I've moved that the at the eyes This doesn't look the same angle is this over here ? And something looks off right here. So I'm going to do the same thing. The last tool in a circle, That spot of detail. But I had command C Command V, which is at a copy and paste command T free transform. And, uh oh, boy, this is tricky. I want to try to rotate this up a little. I moved a little acre point and I'm looking back and force trying to figure out how far out to to do this without messing enough. Uh, I don't know if that's right. 5. DIgital Painitng Photo Realism 4: not sure moving that hairline really threw me off. Maybe that's not right. Let me see about Tilted a little bit more like this. Yeah, maybe. I don't know. We'll leave it for now. Merge down. Commanding words Now, Right now, we're gonna gonna lock this layer and get a nice big brush. Huge on. Uh, it's gonna be 1000. Now it's the soft edged brush you see up there in the corner. I'm just going to color this thing. A nice grade, like so nice medium. Great we're gonna work on that has our main illustration. All right? I'm like, Teoh, pick the smaller dad Brush number 45. Start putting in some of these indications here. We're gonna talk about shapes of shadows. Like, for example, this thing hair sticks right out at me. Got a little thing coming out of it there. You know, there's this so other I see it's like settling me greatly. Let me grab a blue brush. It's not like that. You know, I look for things like that when I'm drawing this stuff, and, uh and I'm gonna just kind of lightly indicate that in their best Matt that out can You know, even if we kept going and angle, it would just merged with the I. So it's about I was wide is and I links on the fill it in salad right there. Grab a hold down old sample piece of the great there, but that in there, like, so go back to black and white Swatch. He's my default black white swatches down there. And when I started in the hitting some of these shapes that are in the hair to slightly bearing down on the panel wakame tablet just gonna put in some of these shapes of shadows that I see like this one over here. And, uh, this one right here, there's a little bit of a shadow that comes over into the face like that. Just gonna, lately, into keypad. And fill this in a little bit. Do you want a map out? Some of these some of these shapes. There's this one up here. You can see it right about here. Okay? My layers locked so I don't don't bleed outside of the shape. You see, um, color this in dark shrink airbrushed out a little there. I felt that in a bit. And try to get a little bit of this dark. And here's the shape here, the shape of a shadow Right about here. Okay. A little strand and my dark and it more of here dark anymore. Right here. Maybe grab the smudge tool. But it a little. I think so. And then the shadow just kind of in a circular pattern. Goes right up around there, the top, and then over here we have a lighter grey happening on a grandma hard edge, round brush mess around a little bit. Cut it off right there. Just kind of paint. And a contour fractional with hair strands. I mean, I'm just loosely laying this down. I'm still mapping things out. I'm not trying to make it specific detail yet. Um, all right, my grab, uh, a soft brush now, and do some of this with a soft brush, especially in the face. I'm gonna see the shape right here on the I put that in there and they come around, try to put this the shape right here and there. Hi. So I'm gonna put this thing in here was like between this is like the midpoint between here and here. somebody indicate that right here and that turns a little bit, comes down here and then on this side, I'm gonna tryto dark in it a little bit staying conscious of this light area here. Okay? And then there's a little shadow right here. I'm just trying put down some of the more obvious shapes of shadows right now as, uh, placeholders. So they come back in to do some other things. The highlights and such from there. Well, Harry, right here. A little triangle shaded area right there. I want to put this in here to This is a foreign one. So just gonna come up on that top of that nostril right there. Let's take a quick look at that real quick. Talk about shapes and shadows. Very important things to try to isolate when you're on the stuff. This is what I see immediately that stuff. So, uh, obviously there's a great Asian around that, but I see very important shape right there. And then this feathered out shape that comes from comes off of that and I'm gonna step in that in there groups a little too harsh there. Let me, uh, sample some of that grade. Knock that back a bit. Here we go. Sampling some of the grave from within the picture now, Okay? And I'm just going after that area right there. Zoom back out. Thank you. Even with each other, I'm gonna be mindful of this Here. Try to keep it the same size. I'm feeling like my nostrils are a little too close together now, looking back and forth, someone slip that down a little bit. Right there. Here we go. On the bring this down here a little bit. Can we go, smudge tool, By the way, just switch the smudge tool. Hammer slew that out. We're the specks in there from earlier. Give you this information here. It's much told again. Of course. Uh, shake this up a little bit. Just rid of all this. Unlike the, uh here for just one second. Here we go. Like it again. Okay. All right. Okay. Again, I'm just smudging around trying to get rid of some of the sloppy, sketchy, heavy, heavy, heavy sketch lines. I want to leave my information. They're looking at this. It looks like it comes up a little bit more having going down, So I'm going to, uh, pay attention to this line here. It's yours. I like cross and use that as a reference and just kind of sweep that up, but the smudge tool, Push it out there, Uh, break this up a bit. Okay? I think I'm gonna grab some white now. And, uh, hard edge brush, huh? I feel like I need to go into my preferences and change my, um, cursor a little bit here, Lee, At one second I am I packed. What A is before? OK, here we go. I think instead of white, I'm gonna pick a light gray. I'm just going to come in here and just start drawing some of these shapes a little darker . Integrating, ready to go full bore weight. Yet do this. Little looks like a little claw shape there. That in there. And then listen up here. This looks like it comes up with right about there, which is right about there. So be mindful of that positioning. This is right down the middle here. Tell the middle here on, uh, again keeping an eye on this. This proportion would make sure the shape is still in there. Shapes of lighting shapes of lights and shapes of shadows That what this is all about Right here. So there's that. Can I just a little bit of a whisked out here. All right. I'm gonna get some, uh, black. I go down here and just start in a couple spots there. Just keep things a little bit even now without all sample that gray. And I'm gonna come up here, try to work on this shape here, starting right about a little bit past the middle of the eyebrow, which is right about here again. I moved my hairline down, so I gotta be conscious of that. My right one on the other side. Now. Okay. This line here, Um, see this section here? This is what I gotta be very careful of, because I did not sort out all the stuff that's going on here yet. I did mark the edge there right about here so that I could use that as a point of reference for this column. So this width they need to pay very close attention to which, when we switch back to black real quick, which would be a column like about, like, this way. To me, it's all about shapes and not looking at a face at this point have different shapes of things. And I'm trying to make sure that have drawing those shapes. The bottom of the eye comes curves than jets out in the line. That's what they got going on right here. Jets out. Let me sample there. Quick holding out old sampling the gray so that it plans together. Right? So that's what I did there, back to my gray. I had, uh it's good that shape in there. I try to leave this little thing in there, gets pinched right here. Must narrow spot. It comes under that, uh, straight area there that comes down. We have a shape like that. You know, this line is this even with the tangent going right through, uh, I would imagine that I keep on the right through the white of the eye, so that would be right here. So there's that shape. Okay. The bottom of the shape is almost even with the top of the nostril, which is right here so well, right there. Approximately. And then there's this ledge which goes right into the top of the nostril. Well, that's right. here and that Out of the way. And it just goes straight down on the turns right around here. Straight town turns right in here. All right, pet in there. Okay. Trying to leave a little sliver of that in there, and if I accidentally go over, that's okay. I can sample it and put it back. This is all just blocking this out is what this is trying to pay attention to shapes of lights and shapes of shadows. And I'm gonna try to do that thing in there. A little, uh, dark area out of the I. You know, you can see the shape a little bit of ah, uh, tilted rectangle, if you will. And I was at that right there on. Let's see what else we got. Um, I'll put this dark area right there. Sample some of the darker grey from over here has made breast down a little bit. I'm gonna indicate that right here when I try to make it trail off right there that you have this little late area in there. So here we go. Trail that off Dark right here. Trail off. All right, let's see what else? What else what else? This is my time. Um, get this little dark area in here. Now. Again, I'm just blocking in these end so that when I going to do the fine detail, I can have a pretty good point of reference. I want to leave that little light sliver in there and just kind of blend that up. Right there. Column there. I'm gonna leave that little sliver in there and do a little dark area right there. My brushed lips. I think my breast down that dark line right there. It's this one. I'm gonna try to do this little dark area right here. The shape, um, you can see it right here. Put that in right here. So it just goes right down the middle like a strength, and then this trails off there. I guess I'll dark in that in a little bit. And let's see what else. Okay, zooming out, put a little bit of ah, this little dark area here just to map that out. Okay. Sampled by, uh, like, Great. Draw this shape right here. That's about 2/3 of the way in here, So I'm gonna mark that. Come down on the outside of this dark shape. I just made come down really bright right here. Okay, Press up my go. Right up to here. Whole weight column that will shape right up there. Then there's a middle section right here. A couple of like, three stripes right there. Lips, smaller brush. I'm gonna show him on that angle coming right off of that. So that would be right about here. And then there's one next to it and then another one. Then there's this bright area right here. Skip a dark area, put it right about here. And then there's this little arrow, but that right there excuse me, and I'm gonna grab, sample, admit, but this little slip up here now, let's, uh, take a look at the coat. 6. DIgital Painitng Photo Realism 5: Now I'm going. Teoh, switch over to my favorite little brush. Air number 14 Spatter brush size that thing up using the right life bracket keys to size my brushes up or down. And I'm gonna pick a, uh, middle mid range. Well, kind of heavy, dark gray from within my picture only. Not all key with the brush tool selected. I'm gonna pick. It's true, that one. I would just start covering this in, Uh, that in? I think so. It's nice and broth size it down a little bit. Left bracket key. And, uh, let's see. How about if I switch over to my one of those dad brushes? Here we go. I'm just gonna fill this color, This fur collar and considerably heavy, dark red. I think so That in. And, um, I'm gonna be paying attention to a lot of shapes. In here is a lot of crazy detail. The best way for me to fall far down that is to simplify it. So I'm gonna switch to black, click on my black and white splotches default over here and my first to control this. I scribbled in this shape here saying that the tangent comes off of this, right? I'm like, so and I'm just gonna edge that in there ever so slightly. Looks like it comes in about half right here. And, uh, it's gonna etch that in there. Just grow loose. Block it in. I think so. Okay. No, I'm gonna also draw this little so loopy thing in here, uh, comes out actually to the light colored period. First, I see the shape here and, uh, going to grab a little bit. Hold on all my brush tool selected crib like gray. And I'm just gonna kind of loosely indicate that shape and there because that I see this Look at an arrow. Almost. I'm just gonna sketch that in there. Like so. And for 10 in there. I see some stripes in there. 1234 I try to put a few of those in there. Just just indicators for later, when I come back and tightness, okay? And I see this little piece right here, but that in right here, there's a piece here, pieces, and in right there will shapes in this little thing here. Include opposing list there. I put a few of these in there. Some indicated, you know, bedrooms of fuzz. And for put that in there too. Uh huh. I take my GRE a little darker, get it off the lip here, and, uh, kind of indicate some of these patterns I see in there. It's the map, it out of love. There's some wisps, that kind of curve up in there. I'm gonna indicate those. There's a little point of reference for later. All right, we go back to my black and white swatch black, but it did. But that in there, that little see that I was put in there first. This thing here and then this thing here. So on now, I'm just gonna put in some variations of same details, like, so just make it kind of flow in the direction. Same direction all the way around. I think it's darker that goes up here by the hair. Some of that down here. Okay, So that that's loosely blacked in a few more light areas here again. Really? Done, Paul. Selecting from existing colors are existing tones. Some more black variations in here. All right, that over, uh, I'm gonna try to do this thing, so I make it be a little bit more medium grey for now. Sample it. Take it right to the edge to have some of that light gray from the cheek. And I'm gonna draw some of those shapes in. There was a white thing here. A little do. Dad. Right there. A couple little lists. A little skim across the time there. You see that? A pack of lights watch gets in black, put a little dark area here. You see a little shape in there. Well, shapes of shadows. Okay, now, medical, we do this thing looks like a little pine tree with the for, uh, protruding out in that direction, just like low pine tree branches. So first, I'm gonna draw this little dark area right here, all right? And this liver of darkness over here, So is the right left bracket key toe resize my brush has needed. I'm gonna Sprinkle some of this stuff down here to some random patterns, and then I'm gonna be mindful of those little branches that come out, and I'm just gonna kind of send those out every which way. Like so Okay, like so I worry about highlights just yet myself. A little indicator of some of the directional little branches. All right, I grabbed this, like, great. From up in the nose. Well, Donald to brush toe tap on it. And I'm just gonna grab a few these light areas here, starting with this one right here. Approximately center of the 10 out coordinates right there. There's a little one next to it. You can see there. And then up here, my eyes were dark, darting back and forth, looking at these, the 3rd 1 under the fourth sexually here. And there's this little random spot right there. Come back up here. There's a little three Pronger when there's a to Prague are behind it. Then there's Thies, too. Little branches right there. And then there's this kind of vague indication of some in this way. We see some controversial in that way. And then there's some just a little indications here and there. Variations for that. You could even go into grand that number 14 spatter brush just kind of hits in spots like this. I think so. Okay. And again, these are just I'm just blocking this out. Still, um, grabs Grab this, uh, brush brush tool. It's, uh, the dad brush, and I'm gonna hold on. Hold. Sample it again. Come down here. Get this little shape in there like So, who's that? Come over here now. I won't work on this. I'm Looks like my got pinched a little bit. There something tryto be mindful of this consistent distant right there. Um, distance. Sorry. Like so it comes down. And then there's this little line little tangent right there. And then somewhere in the middle, Rambo here does that. And then we got this little thing here. So I'm just gonna grab some dark gray from a there and just kind of draw that in the best I can to try to be mindful of the shape in this tangent right here. Just indicate that in there Looks like I need to be mindful of this as well. I lost. Did he got pinched right here. Okay, so build on that a little bit, and then there's this little wisp right here. All right, so that's kind of loosely indicated there. Get some black for this area. It pinches down. In fact, let me request this out a little bit more as it gets closer to the face. It closes up. So let's fix that. There we go. Like so Back to the black and whites Lunch. Um, dark in that up in there like that. There's a here even with about middle the nostril crafts, a light gray indicated in there ever so slightly. Example, the black again work around it. Bring that up there. That looks like it comes up a little bit more and I minds tilting the other way. Someone. Well, it's much to love about that. I'm gonna take this month to push it out a little bit like that, Rio. All right, that's good, I think. Okay, now, looking at this, and I seem to have this extra, um, extra stuff hanging off the side. There was this a lot more narrower because that was already lying drawn there. Somebody just grabbed the eraser tool. Cut that off of there so that my head a little bit more. Same shape. It's the reference photo. So and then you come down here and trim that a little bit too. Compensate. Okay, I'm down here. Hand from the keep trimming it. Like so my breast tool put some of that back a little messy. There greaser again. Okay. All right, Which, uh, getting their, um I guess what I'll do is so I switched over in the brush tool for the sake of consistency . Grab that light color off the nose and blast out that seatbelt section there. Make sure my layer is locked. I don't bleed outside of it. Okay? And I'm gonna take care of this little sexy down here as well. I'm gonna dust in some dark right here. Over here in their Everything's just about blocked in to start coming in and doing some fine detail. One last thing I think I want to do is soft edged brush to a little bit of treatment in the face just to kind of balance it out. Get a little bit of this. And hair that's wide sweep. We shrink that down a little bit. Whispered in there was this little shape in there. I'm ever so slightly want me to accurate. Yet I changed the stuff. I'm gonna get in here, and it's the lists in there. Just kind of whisper here as well down here, there's this little area. See, this little indication of a dark spot right there and we're just gonna feather that out. Too dark. They're a lot safer. The grave. Play it out A little. Sample that gray holding down Holt and grab a little bit out of there for dark. Just darkened a little bit. Here, Get this to dark in that in there? I think so. 7. DIgital Painitng Photo Realism 6: just kind of whisper here as well. Down here, there's this little area. See, this little indication of a dark spy right there. And we're just gonna feather that out Too dark. They're a lot safer. The grave Let it out. A little sample that gray holding on hold and grab a little bit out of there for dark. Just darkened a little bit. Here, Get this to dark in that in there? I think so. Okay. Have a little bit of dark put up here. And just a little bit of a great nation around the eye from this I here, uh, let's see down here. Look down here. And what else? What else? What else? But I'm gonna get myself a little bit okay on Adam and Eric in this down just a smidge and playing that a little bit, but most of late in this area, because this do some detail there shortly. And I don't want that to be so dark. Also in that area to knock that back of it, I'm gonna put some specific details in there, so drawing the little hairs and whatnot. All right. Okay. We're getting there now. We're gonna begin with the extreme detail ing, and we're gonna start there on her left eye. So let's get started on that. Just work right in here. First, I'm gonna pay attention to this, uh, this area here first, I want to clean it up. See mine. It's all for bulky, not the same shape. Is this nice little, uh, point right. So I want to clean that up, Use this much tool tryingto, Um, just just really basically make that contour look a lot better. It's not a matter of pushing that back. As much as I think it's a matter of bringing some of this forward because I'm looking at it and this is looking a little too. It looks like it's coming down too soon with this is up farther. So I think maybe first we push this line over up and over because you see that it's kind of lazy. It's sagging down. Where's this? Is coming up and then down. So let's push this up and then down and see what that does for us. And, uh, it's all to that right now. Up pop up starts to turn right about here and then down. Okay, here's that. All right. See how that looks? It's about Yeah. All right, Now we're going to do We're gonna compensate right here. Now it's too fat. So I'm using this smudge tool on a hard edge brush, and I'm just pushing the stuff around. I've gotten the use used to using the smudge tool over the years of my deadlines. Big hurry. Try and act these things out in just a matter of hours instead of brush painting. Uh, everything. It just that just slows it down for me. So this is this works good for me, So I just I just slowed that out. Now I'm fixing the contour of the of the iris of the eye right here. This comes down a little bit. Mine is all jar Bolden going up. So I'm gonna push that down too. We go push that down, push it down, down, down. Like so I'm gonna use this smudge tool. Just kind of mix it up a little bit. Mix this up from that down a little bit, fix it right there. My eyes were just their darting back and forth as I do this very quickly, and I just trying to capture the image and transferred over there. So continue with sludge tool. I'm gonna clean up this little triangle here. Just a scribble. What's That's not this one's talk. Pam's. I kind of slowed that out a little bit there. Like so back a bit. Maintain those proportions. This is kind of more flat than what I have. Slough that out. Cleaning up. All right, clean this up. Just jiggling the smudge tool on there real quick. It, uh, but the soft brush a little faster to go down there. Cleaning up. Take a look there. Get rid of some of this. Can I have excessively harsh detail? Doesn't be long. Okay, Jiggle that up there. Here we go. All right, fix it up there. It's, uh, ready to change to the tool of the brush tool now. All right, let's clean a brush tool. Black and white swatches black. I'm gonna go in here and just start, uh, trying to clean up and draw dark and down where it needs to be darkened down and like, high court needs to lighten up. And I'm literally just gonna make a black and white photo real drawing right now for at first. So during the iris details right now with this, uh, dad brush in, See here, play the recordings, picking it up. And I'm just right key. Uh, right bracket left bracket keys to size, upside down. And I like this brush. It's, uh, not to round two. Perfect. Just kinda do all kinds of crazy various details with it. And I'm just going in here and looking back and forth, paying attention to great Asians that are there that need to come off different shapes. Um, put this little sheeting area in there. Check it out right here, then, Uh, it's kind of sleep that down there, maybe have a little bit of something gray and blinded a little bit better there. In fact, I'm gonna go grab a soft brush. And this is a total dark black. It's a lighter color. I'm gonna dust that out a little bit. A little too strong. A little too strong. Back to my black and whites. Watch black First, use the soft brush for a few minutes. How that does for me. Excuse me? Sample A little bit of gray back to the black and white. Just over that. I need to get rid of some of this detail here. I think dark in and around it to blend it in. Okay. Paying attention to this shape now. And this one, I gotta going up too far. Someone. Graham. This gray kind of knocked that down a little bit in this little area here. Knocked it down. Have that putting that out a little of that. On that a little, I say, Grab that. And usually sampling with the bulky touching the brush tool down into sampling a telling her value nearby. See the little crosshairs. When I do that example that get this line in there, it kind of comes off of their almost comes off of that little tear duct. Mine there. Put that in there. Right here. See that right there. And then I'm gonna put a little bit of some darkening and hair. Do you see that in there? Okay. Put a little bit of the light ridge in there. You can see it's over there, but it may be too late. Let's bring that in there. And there's a little little later. Flesh. Uh, I live detail in there. Make the eyelashes. And a at that rate here. See that in the reference? Okay, I'm and I could darken down the I a little bit. Um, like So I also put a little bit of a great nation in here just a little bit, but some of this detail in here, Okay, here we go hard in this edge a little bit here. I'm just ever so lightly pressing down on the become pen. It's kind of scribbling. I'm actually not even precedent. I'm just dragging it out the surface, holding steady with me and in some detail in there, Little wisps of detail. Uh, now come over here and place. I think I'm gonna try toe black out in my mind these clashes and just pay attention. What's going on underneath it? Try to get an even tone across there. It's a little too late right now, so I'm gonna try to get that in their second, then work on top of that to get that eyelash detail. There go same thing of here, and even it out a little bit. Don't bring that smudge tool. Blend that a little bit more here. Just a little bit more in the eyebrow area there. Back to the breast tool. But those highlights in there, I'm just gonna draw some some of what I see over there. I see some random, weird shapes and things in there. This isn't the best resolution photograph. It's from a long time ago, before the HD cameras were being sold everywhere. Digital cameras back then were not so good. This girl is actually an adult now. She's not a little girl anymore. We go. But those little highlights in there a little education right here. You can see that little wisp petal shape, an offer that there's ever so slightly highlight right there. Okay, to see a little bit of a little whisper there, what was there? And it's true that I'm looking back and forth right now. Try and figure out that's good. I'm thinking this is too dark American. It now just very light that up just a little bit. This is detail them to come back on when I go in color to, um, fix it up real nice. But for now, aiming to make a photo real black and white picture. First, we're going to a color mode technique. We'll do the eyebrow now. This camp here with shape is a little whiter than when I have something I try to fix. That happened safer. That right now fix it up, Trim it way it's supposed to be here we go to do it and little sheeps out here. Variations of kind of skin from the A little fine hairs and pours and whatnot those ready back to the back like And I'm just trying to indicate thes hairs in there. Pay attention to some of those specific ones. I'm not gonna be extremely accurate. Minimus. Try stay close to him. Take forever. If I tried to stay close to every single detail, just not really no one has time for have this exercise is mostly improve your speed and your ability to see stuff so you can get it done faster on the fly. With these deadlines as crazy as they are, it's like, uh, have always mentioned in the past. Guitarist talked about this in other forms of guitarist practices, scales to improve his dexterity and is playing speed so that when he goes and, uh, plays alive, so some life songs or it goes to write new music. His playing is that much more improved, so people will ask you, What's the point of doing a photo? Real portrait. And my answer is always the same when it's like, Well, this is actually just an exercise. It's not the work of art in and of itself. It is. It is mostly to improve the chops for doing the real stuff. You know that, Big said. You know, it is fun to show off when you could do a good photo report trade. It's it is a scale. It's a specific skill and that not everybody appreciates it. But, I mean, the guitar player analogy works. I am very impressed when I see, uh, certain acoustic guitarists deuce amazing things with scales because because the guitar is just such a, uh, more hard core, uh, difficulties trying to play versus an electric guitar. If, uh, we have a lot of guitars in my family, so I'm very familiar with all that stuff, So, yeah, here we are. We're getting, uh, we're getting closer. Finishing the first real detail. Black and white, which is the I, uh, We don't have the eyelashes yet, but we have the eyebrow in the eye. So for the eyelashes, I'm gonna pay attention to shapes of shadows. There is this little three Procter right here. The shape. I'm gonna start with that one. I'm gonna put that on there. I kind of got, like, little fork going on a tangent. I'm gonna just draw that in there, and, uh, it's not a perfect shape, but I'm not gonna talk. Exactly. I'm gonna indicate it. That would do this one here. It's kind of like the shape of the little peace coming off a bit on a tangent like that, paying attention to that. There's a little highlights in there. The sunlight is highlighting the edges of these hairs, which is kind of hiding. A lot of them even see the little a little light wisps and then what? We'll get to that second castle. And then there's this big old shape right here. I'm gonna put that in there. Okay. Like, so lightly sketched in their brush up just a bit Here, here we go. Just like so. And there's a little It's a little telling their shadows and whatnot. I need to get in there. So those caps I to, um, to Gadi. And then there's a little tiny was just that come off of there, Just little ones. I think so. And down here, Same thing. There's a little tiny, barely visible piece right here. And then there's this piece here, there, some other hotel, and it comes off the edge of that. And then they start to turn a little weapon down on. And I'm just going to kind of indicate those ever so slightly in there and here they just kind of fall off and I must switch to White now. Hit Exxon way quick, either tog o x Just tackle these back and forth. He's going to slay background color. 8. DIgital Painitng Photo Realism 7: and I must switch to white now Hit Exxon Way Creek either tog o x Just tackle these back and forth using the latest my background color very lightly. Gonna just whisper on some of that that highlight some light in there. Okay. Like so little light spot right there. Let's about there. Just some random little details you can see in there and again. This will all change when I go to move to color. But this is a This is a good exercise to do it in black and white first. Like so All right. And, uh, dust over that. A little bit more hairs for planting is a little bit, but that looks very strange when it's set apart like that from the rest of the picture. That's not quite done yet. I'm still not entirely certain. I got the eyes in a good spot yet, but cross that bridge when I come to it. Um, okay. All right. All right. Let's do her right. I know. And I'm gonna repeat the same process I did with the left eye. I'm gonna start with that smudge tool and just cannot clean up some of this really awkwardly hardly roughed in sketch lines that I put in there to start this. But that's ah, good way to start to picture those with those rough lines. But see, when you get those deadlines, you wanna very quickly platt this stuff down and then you come up with all these other cleanup work arounds and it keeps the process moving quickly. So my painting time averages usually between. We're from one hour to six hours on my deadlines. I don't spend days on the painting. Usually very rarely do I ever I've done covers and what not? And it's usually anywhere between 1 to 6 hours. And, uh, people say you should spend more time on that, you know, make it a lot better, since I just honestly can't, um I have always wanted to, but I am a very impatient artists like I don't have I have a Momenta. My have to follow it if I if I, uh, don't say that, Momenta. My lose interest in the piece and the piece was this. Start training a crab and that usually that just comes from years of being a starving artist desperate for money to feed the family and what not and you just faster. He worked more money. You make, basically is the rule of thumb. And I always had to find ways to, you know, back in the days with airbrushing on that I just had to work very fast to make more money and to pay those bills. So now it's programmed into me, and I can't shake it. I'm pretty much stuck this way. So as much as I tried to send more time out stuff, it doesn't work out. Its its a little dog. Now it's hard to teach me the new tricks off here. Slow down. Take your time. Enjoy the peace. I won't enjoy the peace kind of move. Gotta go to the next thing. So, anyway, here I am. I'm, uh Don't repeat the same process I did with the first, I just cleaning it and paying attention to the different contours, making sure that they're still there. You see, this is light and smooth were his mind. It is kind of dark in a mess. I gotta undo that. Fix it. That matches. What's going on over here was dark line is not present in the reference photos. We gotta kill that. Knock it down considerably so we don't leave it in there. I see people do that. Sometimes I leave these really dark lines around the eyes from the just from the pencil drawing and it just not there it it loses the realism. So, um, again, it's not about line that shapes of shadows, shapes of light, seeps and different contours and whatnot makes up a picture. So now I'm a just sampling again. When you see that shape, that's me sampling only. Not all with my brush tool sampling something inside the tones and but not nearby. And, uh, I'll try to remember to mention it when I do it, but, uh, having that been used, Teoh having being used to doing this by myself all these years, it is. It is difficult for me to try to speak while I'm doing it. So I'm doing the best I can. As I mentioned earlier. If anybody has any questions, please feel free to reach out to me. Tell me what part of this video didn't make sense and I'll do my best to relay it to you. So, um okay, I'm going to kind of dust this in here. I'm working in this area over here. There's this weird little arrow shaped and I'm gonna fix up right now. And inside that arrow, there's a little white dot, You know, mindful of those things, I want those in there to be as close to realism as possible. Must lying. Just kind of disappears down under the iris of the eye. Put that in there. Um, trying to put a little eye lash line and there without during the eyelashes. Yet I don't do those yet. And let's see. Been in there starting this a little bit. Clean up that line. A little bit of a great eight gradation ingredient line around there. Put that in there, Shadow. Um, settle this down here as well looking at this dark area here, this little line there. So and I'm gonna start, uh, clean this up a little bit. Here. Let's check this. Make sure we're good to go grab this thing and uses a tool. All right? I'm lining the separate on the edge of their like, honey. A little bump there. So how it looks over here? Well, it's completely gone, so we wanna make sure it matches so that when we line up with the tear duct, I kind of thought that looked a little small there. When it lines up with the tear, Doctor puts a little bit of nostril. I was sticking out what should be right about here. And that's of course, assuming that knows, hopefully is accurate. The winner, you know, assume that everything is completely perfect. I know none of this ever comes out perfect what I've done. I usually usually lying the photo up on top of the image, and there's all kinds of stuff that's just off. But it doesn't matter. This is the artist's interpretation of it. As long as it looks good enough to where no one conceded by the naked eye. It doesn't matter was it looks like her. It doesn't matter. It's a it's the interpretation of it. So, um, I never really saw the point of using a projector when it was faster. Just a freehand, draw it back in the day when everybody was doing airbrushing. I understand and totally respect the projector procedure when people use projectors. I've tried and have used them in my earlier days when I would get airbrushed portrait ultimately the network for me. They slowed me down because every time I turned the light on after I traced a based on a piece of illustration board, it just looked like a weird puzzle like paint by numbers. And I actually confused me. It didn't really help me and I. So I tried to learn how to just keep the lights on and and drawing Freehand thistles, the process that always used ever since before projectors. I started drawing full real portrait's when I was 14 junior high school, and this was this'll. What I'm showing you now is the process that I figured out. This is what I taught myself. That's the whole unit of measurement thing where you take a piece that you've already drawn , and you use it as a measuring tool to get to the next one. Next detail nearby, And it's always worked good enough to impress and make a nice piece. And I know that if you lined it up with the photo, it would not be perfect. There would be on I that slightly off, and when we do that with will probably do that at the end of this. In that this one will look at it. It'll be off. But I prefer to freehand it again. It builds. It's like that thing I said earlier about the guitar player building of his skills. Um, playing, playing scales, you know, you gotta practice. Got good. How could you think you got to keep practicing our the next young guys gonna catch up to you and put you out of work? I know so many stories of older gentleman where that's happened. Um, I've already been there in my younger years. I don't want to go back, so I constantly practice and try to stay relevant. And it's hard. There's some pretty talented guys out there. And yes, I do get jealous. I see their stuff and be gonna get jealous and they, you know, want to compete. So the best I can do is try to do my my my way, my art best. I can keep it relevant, and it's hard. But, uh, that's what this exercise is all about. The practice thing that I do all the time, just the stage to stay sharp. So here I am. I'm, uh, uh scribbling in some of that iris detail like So, uh, excuse me and, uh, drawing some of these crazy little shapes and blurbs and the, uh, to your duct dark in a little bit of that in there. See, that in this area is just a little bit of darkness in there. Okay? And now I'm gonna put in some of those highlights at the X key toggled my background color for foreground white, but I just draw what I see. There are some, uh, interesting little shapes in there who knows what they are. They're blurrier than what they would be if it was an HD camera. But home, I'll try to draw him as accurately as I can. Cap, There's knows. There's a little piece for here, and, ah, little wisp over here. Slightly darker ridge. Right here. In fact, just kind of dust over that. A little bit dark in it down in general. And there's this dark area under the eye, so gradation around the tear duct got a little too Doctor. Let's put that little highlight in there to be mindful of that. Important for realism right there. See that? And then, uh okay, my brush tool down, uh, my soft round subheds. round brush tool. And I'm just trying to get some of these shapes in here again. That shape it's a little dark and hair like in large, large in the brush and large. And I don't know if that's a word. I can blend that out right there. Gonna fan that out a little bit There, gradation there. All right, Now I'm gonna do the eyebrow again. Get it at this point on the other side and again, I'm also gonna try to retain some of the detail on directional contours of the hairs without being totally exact. Comes out to about here. Looks like Be mindful of that. That's about right here. Very, very light. Wisps of hair right there. Okay, you size that up a little bit there. Brush. And to some little directional illustrating of hairs, I was Something's got to practice. I've done this ever since I was in high school with, like, a ballpoint pen. It's just directional drawing of hairs or patterns of hair, for that's something that you just can't do after a lot of practice. Literally. Just sweep here, uh, create a shape of like an eyebrow by just constantly going and uh, like you're going in a flow and it, uh, it's good exercise. I recommend it for all artists. Sit there and just can't wisp little hair patterns too strong and, you know, with pens, pencils, whatever gives him or done a skill for speed and that times. Okay, so there's that again. This will be colored. Everything will change considerably, But for a black and white portrait, that's what we're doing first. 9. DIgital Painitng Photo Realism 8: the black away for Trid and now for the eyelashes. And I'm seeing this junk right here. It's like two sections. That meat. Alright, some random, uh, hairs. There's this section that comes right off the top there, like so not doing it exactly trying to get close and then off of that. There's another one goes right up here like, so we'll have a reflection of the I. There's some random hairs in between the next pattern, which is right up here, kind of a little V right there, some hairs connecting. And then there's a a couple, couple little vertical lines there, a little, uh, directional flow in the but at the root of the hairs. Now they're starting to turn, but you can see a little bit of, ah, contour there. Then when you get in front of him, you can't really see them. Um, turning, could you right in the front of over there and on the bottom. We'll start in the middle here, that little grouping and then next to it. There's another group. Then there's this long one right here. Well, it's this living in this group here, and I'm literally just looking as I go across, My eyes were going back and forth. I'm just looking and just tryingto translate what I see closely as I can. Okay, Some little ones in here twists. Kind of scribble some of it in there. Okay, so all right, groups that little bump in. Go there and there's a high number two. Okay. All right. We're gonna work on the nose. Now zoom in right about there. 200%. I'm gonna wind up with each other. And, uh, first and foremost again when he used the smudge to almost set the brush to the soft judge , I'm just gonna push some of these pixels around here and just reshape a few things. Clean it out. Basically, um, they could smooth some of this out on this line here. Obviously does not belong. Some of the pain over there in one second here. First clean this stuff up. I'm this little mind. Here's a point right there, so I'm gonna make sure it does. And because the hard edge here make it a little less blurry. And let's see, what is this thing as a tool again? Put this right on the edge of the tear duct. See what the spaces between here and here. See, if he we had up looks like find a little smaller. Oh, put some of that back a little bit. I think so. It was right about here, wasn't it? Something like that. And now that works out. It seemed to smooth this out a little bit down here. I'm I'm seeing that this matches up pretty with that for the most part. That's good. It was a little bit more, I guess the more flatness line here and push that down a little. So know that on the way. Switching to the, uh, brush a sample that just paint over that a little bit there and have a little have brushed over here. Trade. Clean this up a little bit. Pay attention to this Lupin hair a little bit. See if I can retain that shape. That was a little bit of a trail off down here. So and then this plans down with dark area. So pick us up here, and I like the little shadows there of the various hairs And let not from the sun Night. Pretty. It's pretty cool. Detail really helps. Helps the trick of the photo realism when that check this thing here. If I'd been just there. Look at that gap now. It's decent enough goofy little cheats that you come up with after doing this for a while. Well, I guess I would call it a cheat. It's just, uh, measuring told just like you would a ruler rial image. So let's see here. A soft brush. Um, I'm gonna dark in this down a little bit here. Or maybe dark in this here instead. That's a little work. Better a little bit darker. I'm squinting at it right now. And then thing that's all. These shade darker. I have something from over here kind of dusted lightly in here school. Get in there, I think. Still to Hirsch over here. Some of that. There's a late area hearing at this dark shadow right there. Kill that. I was trying to fan this out a little bit more. Maybe sample it from within here. Blended out a bit. Plan that a little bit more here. A little bit more down here. You kill that down just a bit more. Okay. Excuse me. Well, dry hair down here. Get the, uh, brush tool. Soft brush tool size down. Real small. I'm just tryingto sample some, uh, real fine detail here. Little bit of couple of hairs or what? Not making casting these long shadows. So and then there's a little bit of some highlights going on up here like that. The color version, it's obviously only gets nice. We get a nice cools reflecting their really is gonna help enhance the color version of this out of the way. There we go, scribbling it in there nicely skin textures, and want that. Here we go. Like so there's some very big highlighting going out of there. Tryto scribble a little bit in their little skin textures. Pores with that. Those in there. Well highlighted. That right there A little funny little line there. You get rid of. Here we go. And then down here somewhere, that interesting cool color highlight. Mix it up a little. Okay. All right. I'm gonna move on to the mouth, do some more details on that scroll that strolled images up like so. And, uh, excuse me. First thing I do is get my, uh, much tool again. Get rid of this harsh line in there and uh, I can see this part right here truly doesn't have a long here. It's just pates and nothing down here. So I need to get rid of that. And I'm just gonna jiggle that right out of there. Were, you know, giggling this much tool up and down quick. Think so? Okay. I'm just gonna do the same thing all the way throughout the land. Parent is going to go the smudge tool. Soften this up here. Considerably betrayed. A pronounced that little dip a little bit more in there, um, in this little too fat right here on the health, and it is right there more of a troop down. Drop off there. Don't push that up there. And then I'm gonna get rid of that line. It's pretty much invisible on the photo version. Okay, here we go. All right, let's switch over the brush till now. Can they use the little dad brush and I'm in a sample. Simple. That darker tone right there and just kind of makes that in a little bit. Try to get a little variation in here. If we can find the tones and black and white to make it look good and down here, sample some of the darker grades. Got that one of the nostril down there, like So we put that little line in there pretty good, Pretty prominent characteristic of this lip. And then there's a little Tyne trait there. Lying there, right there, A little bit more dark. Get from up here. I don't want to go totally black. Get some of that right in there. Like so. You see this little V here? Put that in there. And what's more, various creases cracks in there. Looks like I may be going a little too dark matter. Lighten up in a minute here, but lay this down first, Let's see to be more cracks down here. Tracks increases in the lips, Some down here. It's like I need to come down here a little bit, and then it takes a turn. Like so. We go for variations in the bottom lip as well. It's a dark from down here. All right. I'm gonna sample a little bit of that right there. Really? Cross fade this a little bit. You, Right now I'm putting this down. There's a little bit of ah trail off here first. I got us fix this slope Minds hard point. There needs to I need to be smoothed out a little bit. Now I must Let's open my brush tool Sample that. Just get whisper Let off there in the end. Think so. A little dark area in the middle there. I see saddles down here Come over this a little bit. Sprees that down there. Knock back some of those lions. Bit be a little bit of darkness There a little bit of creation right there. Great Asian. So e c a little bit off some faint shadowing. I tear would put that in there. All right, select one of these spatter brush is just kinda just a random details of here. Quick, just toe. Break it up a bit and then I take care of that. That's not really that strong. Uh, photographs sample that spread it out a little bit. So So I am playing it in various places and just I was planning it. Settle down here a little bit. Some texture in there, Maybe a little too harsh. Perhaps this spatter brush. Mix it up a bit here through a little smaller. Here we go. Arts Uh huh. Let's take a look in. I was looking so far getting there. Alright, I'm done 10. DIgital Painitng Photo Realism 9: we're gonna work on this hair now cleaning up a bit, Try to make it a little look, a little more photo realistic. And it's black and white stage going to, uh, the razor razor tool. I'm just gonna clean up the edges. Here. Some this messiness using the one of the dab brushes. Let's switch over to the breast tool double mode. Just a sample. Some of this here. This press here smooth this out of it. Blended down here a little bit more. This smudge tool somewhere blended. Let a little bit of this here while I'm at it. Clean that up a little. Founded in switch to this burst a little bit here, sticking the It's much tool, Just kind of giggling. Smudge it spirit under the a bit of blending there. But then the hair as well kill back Some of these really harsh sketch lines is this smudge tool that's near the ground. Try to retain the shapes and they laid out, but you know him up a little bit gently down. Some more specific detail here. Syria here needs to be a little bit, uh needs to be a little bit better defined over here. Want to kind of fix the shape here? Highlights finds a little bit narrow. Original. What? So I just could not put a little bit of extra here in the South Whiner paying attention into these shapes, judges, shapes of the highlights. Here. It's good. Keep blending some of this stuff here. Okay, switching now to this brush. I burst, tool. I'm going to go ahead and, uh, drawn in some of these strands. Some of this stuff over here. I'm gonna try to find that a little bit more. I got the number 14 spatter brush. We get some of this stuff in here. Enemy specific, little down black, white first and, uh, a sample of it of the dark. Start here. Make it, uh, make these little hot points in there as well. Um, but under underneath those hot points, there's, uh there's some dark areas can lay those down first. You know, go back and forth with the black and white and just kind of lay down a base of some random shapes, dark areas, and then over top of it was white on, uh, or in this case, I just grab some gray. I'm just trying to meet some mute down some of these darker areas that are just a little too strong trying to decide some of the shapes of shadow. Like what you see in here. Get a little bit of this color here or this tone. I'm sorry. So I could get some of these dark areas over here, travel a bit of white here and put back a little bit of these strands. China, focus on some of those shapes over in the reference about there toe paying attention to some of these groups of strands. When there's shapes names of highlights next to shapes of dark areas and lay down the base a little bit first with the dark locked layer here so I can clean up that little dog spot to get rid of those. Get all them were dark schedule and out of there. All right. Unlocked a layer with that out of the way and, uh, wait. Black waits, watches and just, uh, you know, talking those back for us. That area right there. The focus on this, um, this whole, uh, white area up here. Just a big blown out highlight there from the sunlight with this stuff here call. Wait, but I'm gonna Before I do that, I'm gonna put a little bit of texture. And in here, um, because somebody used the dodge toe to pull this stuff out eventually. But I want to make sure there's some information laid down for some detail. So I'm just laying down a good base. A few little details here, some of this up here. Okay, a little bit with some dark areas in here, but I doubt some, uh, dark, dark tones in here. The little cracks in the valleys between the sections of the strands of hair, Tighter detail, the better more photo helical. Look, a bit of this here. Some of this area here in that little detail there trying to draw that in there. I'm not sure what that is, but it's gonna put some indications in there Some of that right there in this area right here. Just kind of I need that kind of knock that back of. It's a little too, uh, well, to pronounce. I need to blend the sent a little bit with some of this dark. I've been a light I liked on top of it. Some of these little wisps of hair in here. Very fine. Wisps of highlights. Well, strands of hair. The Syria here with a highlights of they're gonna I need to take my white just kind of really pronounced this area. Hair is kind, like the edge of the hair with a son. Night kind of drops off before the shadow. More of this, uh, some of the strands of hair in here, a very small brush, soft edge, very fine details in there. The little hairs they really help will help the realism come out a lot more crisp, tighter the detail the better Back in the days when they used to airbrush, say, do everything I could to try to make it not look air brushed with the painted as tightly as I could with the, uh uh I wanna airbrush try to get really fine line. But even after that, I'd go back in with prisoner color pencils and try that. Just greedy it up a bit because I just hated the perfect smooth, airbrush look, I wanted it to look somewhat gritty. I always felt like my airbrushed paintings were just cheap and rushed. If they if they look to airbrush back in the in my younger days, I would go out of my way to really try to find ways to amp up all these little fine details . No, I'm gonna I still feel or wisps of detail in the hair here, and I'm gonna move over to the, uh, side of her face real quick while I'm while I'm in this area. Uh, I try to do some of this. Some of the skin texture in here, just kind of putting a little bit under the eye. Hair could see a little patterns of skin. Porous little hairs without on the face. Just catching sunlight on that very, very tips before, uh, face curves over into the shadow. You just kidding? Here's a little little highlights of, uh, bits of some. I read on the tips of the texture points of texture on the face here. Beverages being a soft, smudgy, painterly pattern. You end up with the it's more detail there. It really helps make the photo realism come out. The areas that really, really making, uh, for the real painting, um, do its thing. Good exercise really helps you to know what detail you need to amp up when you go to create a image from the mind. These exercises really condition your mind. You remember all this stuff you enough times. It just becomes becomes details that you otherwise took for granted. Or just I know where it was. There. Good study. Could good practice some of the darker areas in here. In addition to the highlight areas. Sample some of the medium grace from within the image and scatter that out a little bit scribbled in there. Just get really rough. Denies go back over, Planet back down again. 11. DIgital Painitng Photo Realism 10: Yeah, I like toe My favorite thing. That was too sample tones from within the painting itself. What I'm doing here when you see me jumping around, he said little circle the l key of the brush tool Selecting tones with all this out a little bit, it's actually the more relaxing part of the portrait. Just black and white gray tones. The real challenge is gonna come on a, uh, trying to turn all this into color. Pan this over here, look at the side of her face real quick. Teoh, A little bit more shading in that area right there. Announced a little too harsh in that area. And I need Teoh. It's often that up there planet in a little bit better. I miss in talking about some of these areas down here, so sounds like, uh, noises. They're like my kid is upstairs rocking in her chair again. How is, uh, weird thing about recording video when you live and work at home? You gotta kind of hear the sounds of kids and pets. I'm just going here and 10 and knock some of this crazy detail back. I'm lock the layer when to use this much till right now. Just clean up some of this, huh? Xs on the sides again, Just smudging it out. Kind of bounce back and force between the smudge told the razor tool for getting rid of some of this detail. But right now I'm using this smudge tool. Um, between pushing away some of that extra scribbled lines on the outside and planning in some of the stuff on the inside, so kind of works out better than the eraser tool in that regard. I just was talking to the brush tool, and I'm just adding some. It's unclear detail over here. Get up these edges of it of the hair. Big that number 14 spatter brush tool again and just go to town that wait for someone to go ahead and take this much too. Um, trade. Here is some of this nasty detail from the sketch phase and even in the face, grabby a soft edge. Press real quick and slough that out. Here we go. All right. Stop already. Me Might as well smooth out the general quick here first as well. - Other than in there a little bit. Move that out. I think so. - Let's return to the spatter brush tool and gonna go in there, just kind of go back and forth, give and take with black in the white and see if I need some of these nice streaky, um, hair strand patterns going in here that the number 14 brush does a while I see some dark. You can see it starting to happen. In there, we'll find strands dark, dark. So try to get this little thing worked out a little bit better right here. A little bit more would be over here. There will get some light, little dirt, a little light. Let's go back and forth lit. More highlights right here. That's a crossover hairs. Random, Very random press over hairs that's more dark right here. Little dark valleys. Cracks in there. Think so? A little bit of a circle right here as well. No, I don't have to Realism finer detail strands over here. Random lost little hairs over here. And I'm not going exactly off of the, uh, photograph right now. I'm just kind of wandering my own direction here, trying to give it some of more random. It's a more dark cracks down here following the pattern. Anybody laid down? It's here's wandering outside of the the rest over here. Some stray hairs just kind of stick out outside of the actual group. So sample some of that dark over here. What's unfolds in there? Try Try to indicate some overlap. Hairs crossing over and over, laughing like color. A little bit of that in there. I think so. Okay, a little bit of highlighting up here. Try to indicate that in there. So a little bit of bring out some more individual highlights. It really helps to realism ST the breast down just a smidgen more we go that Here we go or highlight. There is there we go for a few random hairs in there as well. I'm gonna pull this up here and work a little bit up here as well. Some dark down the dark like so. I think so. Camp a little bit over here. Really? Tighten up those Mr Hands here first. The flow going again? I'm just concentrating here. I'm sorry. I keep going quiet, really working on, um, trying to make the the hair strands flow and a good continuous direction while trying not to be too monotonous with it. Make them all look the same. You know, I want to I want some of this stuff to look random and stray and not a place for more realism sake. So, uh, uh, a little dark Harry here. There's a band of saddle here which really helps. I was with the realism in another dark area. Then there's this highlight by and right there. I'm gonna go into that highlight area now with the brush our with the the lighter color letter tone. And I put some, uh, but some wonder wandering street hairs here and there. You see, right here. I put those in there, and, uh so we can come up with working on this area here. More of this stuff going on up here. Some of these shapes and highlights. It's a little bit of, uh, reflective light coming from the other side. And then, uh, then, of course, there's this real hot spot here. Grab the weight and just kind of work on that. Get floor. Really good. There again, this number 14 spanner brush great for this stuff comes with program with most versions of ah Photoshopped habit. If not all of them I don't know like that. And I'm a cool here and work out some of these highlights over here trying to get some specific high areas amongst the low areas. This is kind of hard right here. I'm trying to get my hand of flow in this curved contour. Here. It's I had a difficult All right. Try to work on this highlight area and just pull that out a little bit more. Maybe size the brush up a bit for that. 12. DIgital Painitng Photo Realism 11: hand doesn't seem to wanna really push in that direction, thinking at this point, I should take and make a, uh, background. Um, there It's just a little bit darker, so I could make sure I don't do that. You see that right there? Just see, keep track of what I'm doing with White. I mean, there's a lot of white over there, so that's it's OK, but I wanna make sure I don't paint a bunch of stuff there that doesn't belong. And this area here is a little more Randall terrible that up a little bit more. Have a go like this. Thanks. So a little dark, but said the Black waits watches going and put a few more dark cracks some of these strands of these darker areas and hair. When I want to get those in there, don't come back over it again with the, uh, the highlight tone and, uh, really bring it to life crossover hairs. So what did not going in the same direction go If you random here's wandering around here and there, Place. It's okay. Grab some of this stark and put someone outside of the hair shape over here in the back a little bit more there. And some highlight hunter killers? I think so. Take a look at what we got, I hope. See, that's what happened over here. That's why I needed to put that gray back there. I wanna cry of the eraser and Well, no. You know what I'm gonna do? We gonna get the burn tool said it. Highlights use that spatter brush. Just gonna go over that. Just kind of knock it back, Burn it down. There we go. Look, and, uh, I think we had a little bit of something going on over here, but he raised that Been here. Like so Take a look at where we're at so far. All right. All right. I'm gonna work on the coat now. Um, so position these side by side in a way that we can see both. And, uh, Let's see, I put this up here making mostly. Just concentrate on Can't street on the coat. These are tools to appellate away, right? Take the a smudge tool again and excitement. Take the eraser tool this time with you quips. But, uh, I don't not theories to Sorry. I am gonna take the brush tool. And, uh, I'm gonna work it in there and get rid of some of this ID. Balti. Till that I have, uh, okay. And in a minute, um, sample. Let's see it. Probably the dark gray area. And then I'm just gonna kind of go in here and real quickly whisked some of this for pattern in there. I think so. Give it so random. Little for edge edges here. Yeah, thanks. So straggling little pieces of fair little fur collar here, and I'm gonna go in there with the darker color are darker tone, I should say. And just quickly tryto create these, uh, little pieces of first stick it out of there, like so think I'll switch over to my number 14 breast. See how that works for me here. I'm going to kind of give and take, just like I was doing up in the hair between the late in the dark tone. That would make it too similar to that over there. Just kind of close, too much detail there. And it will spend too much time on this. And it's pretty basic. Pretty basic pattern. Keep the these little pieces of, uh, artificial for? Just kinda. They flow in a certain direction. Somebody pay attention to that. I laid that out earlier. You see what the little lines and details I put down? Kind of funnel those doing this. Only brush size it down, using the right left back of keys to resize the brush. Put some of these little cracks. And I really we see in the photo a little detail random up randomized. These, uh, I highlight there is. Let's switch over to the, uh it's much tool. Just kind of break up some of this over here a little bit, uh, get really small randomized. The, uh, little bits of photos on there a little bit. Okay. Want to grab? That was better. Brush again and go in the back. Here. Break this up a little bit. It's my tool to several here again. I'm using this smudge tool is pushing it around. Just imagine those pixels around back to the breast too little quick here and try to put a few little highlight areas in there again. The number 14 spatter brush. Well, tuft was in there random hope in this random. My details and hair. The rose, the little details of, like, little rows of lights and channels in there. Okay, whether they're not a little bit now, here, sample some highlight traditions. Higher tones in there treats this little highlight areas in there. Uh, All right, let's see here. I'm gonna scroll over here a second and get the other side. It was a quick once over here. Well, maybe not that much. Uh, like so. Okay, come grab, uh, black heavy, um, lack of their big, heavy, soft edged brush and just kinda I'm just over this a little bit. This right here in here. Okay. Like that. That was roll over here. And, uh, I guess I just grabbed the smudge tool again. And I just kind of jiggle up these details here, go try to make it look like the photo quality and realism smudges up, become very welcome. Make chemical softer. Following the pattern related there earlier. Bring this White edged down here. Splendid. Now content out of the way. And again, I'm just using the sludge till it's time to push these around. Get rid of some of these through the lines. There we go must watch over the brush tool and continue to add similar detail. Some highlights there, variations in their highlights 13. DIgital Painitng Photo Realism 12: you. All right? Take care a little bit of, ah, thing going on down here with hair with down here. Come down here. Get this off soft. Uh, the first. Wait that out a little bit Here for a moment. Uh, only try to draw some of this detail down here, looking out over a little bit, like so the brush town and this Scribbling some of these random little fabric, uh, patterns in there, so have a little bit of dark from a pair. Okay, I'm gonna come back over here, do the same thing. Try to throw in some of these fabric patterns. Basically, there should have been a little bit, you know, these little A little, uh, want to come this little bumps? Uh, fabric bumps draw the cracks. First sketched in there real quick, thank Selves. Kind of randomly squiggly line drawn him in there. This Here we go. Almost there. Well, I'm here my little throughout view or random details on here to break up those brush strokes a bit. So close with a black in there. Here we go. Works back away here again. All right. I'm just gonna grab, uh, make my breasts really big. Just dust over it a bit. Maybe zoom out here real quick. It looks like, uh oh. Here. But some of that And over here as well. Over here. I see. Well, the hedge there. Felines. Indications of the seatbelt fabrics. Here we go. Come over here and never feel these. The land of details here in the collar. Okay, zoom in and work on this spot real quick. Uh, sample that. It's often that there a little bit of Ah, I lay in the middle self in this here starting it down there. Blended. Here, there. The shadow Here. You. I bring this up against the face There. It's the cheek. Highlight right there. But there is still one. I'll take a look at it. Yeah, I think so. But it just a bit a little bit more show of these pallets. Out of the way on. Let's see what we got here. Uh, maybe the burn tool set Two shadows, maybe. What? See? A couple of spots here they look. That's too harsh. All right, here. Just ever so delicately down here. Here highlights, maybe mid tones. Let's try that. Uh, let's see. Dark in there starting a here, here, Maybe a little bit more up there. It's very well. Pretty much have Ah are foreground element. The portrait itself fleshed out black and wait. Now we just need to go in there and had a background. And then after that, moved a color. So let's call this part done. In the next day, we'll work on the background. 14. DIgital Painitng Photo Realism 13: thing at this, uh, in the break, I noticed a couple of things. This this eyes bugging me a little. I even flipped it Image rotation canvas horizontally, and it looks like it's up higher. I would flip this one, too, and so, but I kind of like where it is. Almost looks longer on here, but I'm not sure if that's my screen stretching that. So I'm going Teoh liquefy on this. I'm switching back. Flip image. Flip off. I'm not making a mistake. Try this. Um, I want to go to filter liquefy, and I'm gonna try to just visually. But just this I don't know if it's gonna throw away out of whack. Hopefully, it does. Not just gonna basically push this up a little bit. And how I don't know what we see here. Maybe, uh, I suspect no plate control Z, um, maybe this down a little bit. Not sure if I'm making a good choice here. Let's just try and see. You can always go back in history palette suit. That does. I guess I didn't affect it too much. Um, but yeah, it still looks funny to me. Uh, it was just a illusion. Zoom in on this and use this thing again, is a tool. And bring it over here. Maybe that yes, Maybe this. I could come kick be kicked over just a little. Maybe I'll try that right Quick image, rotation, foot, canvas, horizontal. It's flip on a going to select this. I copy Paste. It's all there and just kind of adjusted a little bit. Perhaps. Maybe now, like that in the end up. Probably. Line it up and go. Whoa, It's way off. We'll see. Maybe the baby that works. And, you know, maybe because I don't have this in air, its strong even That's creating an illusion to we flip it back. A little village horizontal. Let's take a look here. Who, Uh oops. Document. I just nudge that up a little bit. See what that does Grab this thing again. Maybe. I don't know. I guess I'll try it. Saving under civil under different names. I go back. I have to this much too. Fan that out of it. But that does all right in the background. So I'm see my layers palette now in the background, my second background layer has emerged that now it actually, Um excuse me. Okay. So, essentially, I'm in a just quickly rough this stuff in and kind of follow a similar pattern would have done before. I'm just gonna I up the, uh, approximation here of where the stuff is at this. Uh, that's this contour right here. There's a gap about this wide on. Islay flied between the edge of it and the head come down about that much. You could literally just see across the across the esprit in here. And about halfway is the the other end of it here. Part of the seat belt. She's in a car seat child safety car seat. And I'm just gonna sketch this stuff in there. This mine here is about 1/3 of the way across. So I say right about here, creating the shape here, we're gonna draw a line here that kind of roughly goes with the contour of the face. So that would be like right here. Like so, um, and I also want to draw this lion. That's kind of almost straight down the boat. I like the way from the side of campus. No. Looks like I'm a little off here. Um, if I kicked us over a bit, like so at work. This is background detail. So it as long, somewhat close will be happy. But it doesn't have to be spot on her because, uh, the important part of the picture, of course, is the portrait itself. So I'm gonna take some liberties with the background just to hurry up and get the picture to where it needs to be. Um, portrait is the hero of the illustration. I'm also not gonna paint the, uh, check her pattern plaid pattern on that seat. I just I don't like it. Really, I think detracts from the girl's face. Especially if I illustrated it just wouldn't be good. So I'm gonna keep that somewhat plane. So here we go. Um, under the little plastic clip here and about the other side about that, loops through right about here. And then let's see, I'm gonna loosely indicate the edge of the cushion of the child safety seat right about here. Just kind of pushed that in a little bit right there. This detail here, I just can drop this way. I think we'll move this campus out of there. This out of the way it's kinda throwing me off a little. All right, then we'll check this. Um, here. Pinch this now, A little bit. Grover just snitch these tangents. Air throwing off just a little bit. Oh, um, line in there from seem and move over here now. And, uh, from that tangent put the, uh, that column in there. I'm in the top of the seat. Just kind of indicated it right about here. I think so. Together. And, uh, the other side of the column, this dark area here, this black things don't know what it is that throw that in there. Yeah, we can see that. My, uh, proportions a little bit off, especially on the hair. I was looking at that during my break. Um, this is wider than it is here, but I think I'm gonna keep it that way. I could trim it, make it more accurate. I don't leave it that way because because of the sea problem, because I'm not gonna have any detail in there when I like that. Fill that up a little bit over there to make up for the fact that I'm not gonna paint that plan. Messi plan texture in there. So, uh, a little metal clip back here. I'll just do an indication of it right there. Like so. All right, now, I'm going Teoh kind of fellow that in real quick? I think so. It's like I did with Thea Face when I started this laying down. Rode rough, Real basic, some dark from over here. Switch over to myself. Brush the detail. Enough. That's the new rule. Quit funny. At this part of the picture, I start to get anxious to finish inpatient. This is the most boring part right here. No, but really boring background detail. - Smooth this stuff out here. What a sampling with the old button. Just sampling the tones and spreading it on, uh, feathering and on, uh, lending it, Letting it in more rather right on the clip. Right here. Apportioning is definitely a little bit off, but that's all right. Really care to have this stuff in the background to be exactly accurate. Obviously, if he deadline called for it, we could do that. But no fight in this exercise, spending all that extra time, the main focus of exercises on the face and a lot of the background detail has some good, uh, lighten shadows That's close to the environment that the girl in the reference picture has around her that minutes. That's what's most important. Got a, uh, dad Burrows right here. Some of the detail back there came in a put a little highlight line across the top of the seat there. Just rough it end like this up a little bit. Enough. This part of the gallery here, we grab some white variations back here here. 15. DIgital Painitng Photo Realism 14: All right, That's the rough. Did background on a tight knit a moment. Take a quick break and be right back. All right, I'm gonna clean up this background. Now, find Tony It a little bit here at this Dad brush own. And first I'm going to go in here. So, man, take care of the seat so that I could do with it a killer it in a nice medium grave base. No. Real quick. Fix this side of her hair. Seems to still have some undesired highlights on there. I need to knock back. I'm gonna burn tool set the highlights. I got my number 14 spatter brush, and I'm just gonna It's gonna try to knock that back a bit there, messing down here? Yeah, it's better. All right, Back to the background, please. Pallets out of the way. Uh oh, crap. That spatter brush. First tool. Have a later color and to see what I could do with the texture of the seat. Now, do something a little rough and fabric, fabric texture. I'm there since I'm not doing the plan concerned about being too, huh? Uh, to plain and fake looking. Basically. So I see what I could do with this going in the hair. Try to get some imperfections in there about blurring the background a little, too. But we'll see what we do here. The shadow up here, just like in the reference pick some dark colors from below There. Think I'll work on that. Seem up there real quick, but I could do I had a little bit of detail up there. See, that helps it out. - But some my wrinkles in there did a little indications and some buzz and maybe fabric texture in there. Creases. What's going on over here? This crease on there? You know, I have a couple of extra pronounced creases, just toe make up for the lack of detail in the plan, and I'm not putting on there, but we can do with that a little wrinkle in there. It seems that does indentation right here. So on some shadow over here to so far, so good, I think it's on this detail down here. That's, um, uh, random spots variations now, here in this metallic clipped or buckled or whatever it is, some of them sketch lines. Well, wrinkle in the fabric being down here a little bit shadow in there. So I'm gonna grab smudge tool in just kind of shake it up a little in there and get rid of some of those lines. I still see from the sketches. I love him more appear. Here we go. Okay. Come back down here again. Scroll that. Take care of this detail. Here we go. A little bit of some faint detail in this plastic clip of some kind highlight in there on the metal metal piece. Highlights on the edge highlighting in this, uh, piece of whatever. All right. There's, uh, some highlights going on back there as well. Mine's not exactly proportioned. Like I said earlier, I'm a just gonna kind of budge this background a little bit. Not be so particular about it. Okay, Back up here to the top and put in some of this highlight of these highlights on the top of the seed. Some pieces of buzz and stuff. Here, there, random details. Go. - The highlight up here in this other second role fabric. - All right, Come back up here now to the column behind that. Gotta clean that up a little Darknet town. I think so. The highlight in there. We used this much to a blend this a little bit. You upset over there like so? And then a little bit. The blurred he tell back here, Over here and then some. Uh, it's off brush highlights back here. Out the window. Scroll back over here. Okay. And, uh, excuse me. Clean up the detail in this, uh, seat belt component up here. What did you do that? Fix every quick but supplies detail in there. Fix the belt a little bit. Here. Be lining up us mansion. Here we go. Can clean this up. Mess I made appear. My sketch lines isn't this much tool that jiggle it out. They have to clean this up right here. Dark the dark right there. 16. DIgital Painitng Photo Realism 15: Here we go. Coming together. That out of the way. Grab this much to fix it up a little There. Okay. Was planning this together with this much tool switch back over to the brush and had to make it a little more consistent back here? - Here we go. See this Really bright highlight on the seat belt. Not sure wanna make mine that bright. It's kind of a weird tangent. Like a big old piece of hair sticking up there. I'm gonna try and see if I can get away with just doing a very faint line. I think so. Screwups taken the last of this detail back here. Hopefully we get to coloring this pretty soon. Very sample. Some of the highlight, um, a late own coloring this in here, calling it in. Just little details. And here's bits of buzz and fabric again on the seat cover, child safety seat. So a little highlight on the edge of this clip. Here, I take a look. See where we're heads. Um, I guess I want to going with the burn tool that the mid tones knock this back, just the bed and then with the, uh, but God's tool sentiment owns like this up a little bit. I think so. Okay. And I think just about ready for color a little bit there with here. I think I want to add a little bit of shadow down here, quick talking at a bid a bit. Okay. Overall. Just gonna target just a Smith's. I have some information when I do the color mode. Think so. You know what? The background starting in a little bit. So I have something to color when I color mode. Because other mould won't work on black or White has to have some kind of mid tone gray scale. All right, that will do it for the black and white. All right, we're gonna start color in this now, Um, first of all would make sure I know that my layer is locked, um, before ground layer, which is the girl in the background layer, which is that the forum layer needs to be locked. And I'm gonna pick a stay random flesh tone, Uh, a soft edge, round brush. And I'm gonna go up here, pick color mode. Just come on here and just randomly paint her whole face, flesh, tone and then I'm gonna pick this, uh, tan ish tone here. Just color the hair, straight up, tan color, just laying down a base. Okay. And, uh, I'm gonna pick a brown for the for in the coat. Gonna dust that in there. This here. Tell her that in solid right there. All right there. And, uh, for this white part, I'm just going to be saturated with white color motive with gray hair. And for the lips, switch over to a soft brush. Again, I'm just gonna color that read. Okay. Remember the eyes. I'm gonna just de saturate them with great again, like so. Okay. And then I'm gonna also go in and de saturate this area here. That's cool colored area. Treat that down de saturate this. There's a little whisper to saturation there and some over here and then on this side of the head, he said, treat that like this back a little right here. I knocked this back. Not this back. This put a little bit in here. That and then I'm gonna knock. Uh, we'll leave that alone. Um, when they grabbed this color here and fix that little bleed, I'm told that a little bit there. Um, grab the red. I'm gonna grab a little bit of this deeper. Do you read? I'm gonna just dust that in there. Just a little bit of it here. We live in here. Background. Just gonna grab a random, cool blue color dust that on there, grab a greenish tint. Just that over type of that. Just kind of mixing the colors right now. Hey, saturated. Just a smidgen right there. That looks like saturate this little strip here and then maybe have a little piece of greens to get in there, scribble it on the background there with green back up here. Makes it with some blue saturated a smidge. I'm gonna grab this warm gray. I want to paint the see back there. That color. Grab some of this. Just kind of hit that metal clip back there. Dust a little bit of the top with that. That looks grab that. Maybe put a living in the eyes. Flips wrong layer. Silly. If they're in there, I put a little bit of that tents in the hair. How about here? Here. Okay. Just going through in finding tones right now. Looking down the base I'm a decent rate. The sea belt saturate. There's this indefinitely. This shirt color here. Okay. And, uh, fix this, uh, bleed over right here. Then I want to grab the Dodge Tool. Said the highlights to learn a little bit, and I'm gonna blow out this weight side of the face completely. Blew it out like so China floor, right out over weight There. Switch over to mid tones for a second. Just kind of hit this hair right here. Well, that back a little. Go back to highlights. Do the same thing with the hair. Blow that out there. Have the number 14 spatter brush size it up, down. Gonna go in there blasting that sunlight. Last it right in there. Like so Size it down on their sides, go small plants that in there, Touch some of this up with some opacity and a little bit. But right now we're just said laying down the base, roughing it in there. No lightly whisper on the hair. Now I like that bit. The blast out the highlights right here. And they were come down to the nose. Same thing I do that. I'm gonna go grab. Uh, I'm deep color right here. It's like a, uh for number take color color than in the face. Maybe a little bit of red in there. I was gonna affect the the work of the dives till, um, maybe talking a little bit more with some, uh, normal mode brush. Then there, So on to be a little bit of color mode in there on the nose, a little bit there and, uh, a little bit here. So have some of this warmth. Put it in there. Some of it up here, right here, here. And then we come back to our dads tool, and we're just gonna blast that in there again. Nice highlights on there will finesse that we lose tightening, but for now, it's getting the point across. 17. DIgital Painitng Photo Realism 18: let me see my grab a little bit of purple Potente pair here. Maybe a little darker. So this Okay, I get a little bit this land up in here. This so been highlighting comfort. Tough nostril there. - State . Hold understanding. You're doing some, uh, creations and skin texture. Same brush. Same procedure for the monotonous right now. Sorry for going silent time. Just thinking is I move forward trying to bring this to a close. It's a lot of little tedious little detail. A manning. Right now again, please feel free to email me Retell any questions you think doesn't make sense. Your fame skipping over something, not realizing it. No. It's up too fast. It's reached out to me. Let me know. Ask any questions. Give me the time code on the video where the part of the exercise took place. That you want to refer to Anna, get back with you as soon as possible. Perhaps old sample the color, - this color. Here's how it works with this color here at the to have this color from this part. So types of orange in hair, a little bit of this. Uh whoops. See him Take color. It there some yellow in here, too? A little bit on the ng's there on this. In there. Here. - Okay , I see some of this, actually, I'm gonna grab a little bit of this purple toner here. Some of that little bit of it up here. Absolutely color over here. Try to get some of that texture in this part of the nose. Okay? I should probably stop for a minute. Take a break and that the video render to the drives. I don't go too long. Mess it up. So stop right here. Take a quick break. All right. A couple of, uh, a couple more quick adjustments here. Um, I've been looking at this. Hey, all right, here. Determining that, I think I am gonna go ahead and make it narrower like this after all. So I'm gonna do is I'm gonna select that. It's right about here. Get over a little bit and hide the selection. Command age. I'm a free transform it command t just drink it up a little bit here to write about about there, I guess. And, uh, with that command D for D select. Unlock my layer. I'm gonna go down here and uh, erased some of this fur collar. And then I also want to, uh, come over here and from way. Some of this right here just just look too bulky to me. The overall body seem too bulky. So I wanna So they cut that out of there, maybe trim this a little bit, too, but more of a Nadal. And also, um, this little for color edge here. Mind sticks out of bed much. Someone had taken out a name. You'll just like it is on here. Sample the white. I make sure I'm in God, put my brush back in a normal mode, and I'm just gonna trip away at that. So and, uh, also gonna put a little bit of light down here. Fix that later when the tightening and, uh, indicate a little bit here. Pushed that back a little bit. I'm gonna wait down there, so and let's see what else? I'm gonna go back to color mode de saturate this piece of the seat cover back there a little bit like so. And let's, uh, dodge tools at the highlights background there. Enlighten us a little bit more here. Here. I don't think I wanna kind of like the seat a little bit right there. Highlights down here. Blast that out a little bit more. I'm going back to the brush and color mode. Sample a little bit of this cool color whisper below living on the set of the seed. Okay, It I'm also gonna We'll go back to my portrait layer, set the Dodge Tool, uh, to mid tones. Lighten this up here a bit. Lighten up some of this stuff over here on the side. So it looks a little too heavy. Like that up. End up some hair. Um, might not up here a little bit. It's lighting it up down here as well. A little bit more over here, in the on the edge and a little bit over here. Back to the sea. I have a little All right. Maybe I'll just knock that. I like that up a little bit right there as well. See how that looks. I may be floated a little. Take a look at it backwards. See how it's looking. Get up there. Just a whisk. Flip this one too. Now, my brush tool. Normal mode. Samples from a color from the face just smooth this area out of here at the start, carry in their happening. So oops, I am on the wrong layer. Yeah, Yeah. Paint that kind of like that up a bit. Little bit of here. Try to get this area up here a little bit more lighter. So maybe spread this a little bit over here, too. Business, Um, later tones up here, letting this up here a little bit. Let's see how we looking in there. We'll go back to my Dodge told Dodge Tool set to mid tones. I hit the side of this a little bit. That's a little bit now here. This bag said the shadows that I wanted to see. What that looks like. A wisp. Open that a little bit. It's often it up a bit. Kids, I see some, uh, Hughes in there. I want to put in there. So my greatest up a smidgen of pig right off a little lips there haven't dusted in there right about there. And then there's this little warm area. That's what make sure that's prominent. Grab that out of the swatch dust that in there have more warms down here like I need to put in there really 18. DIgital Painitng Photo Realism 17: and do a little bit of clean up down here under the chin. Out of too much bleed. Going on with this big fat lying down here. Simplify that A little bit. Big, dark line. Someone just had him get rid of it. The, uh, same here. Little bit. Too much spillover on, uh, straighten out this line a little bit here, So straighten up some of this over here as well. Shape is a little bit bigger that get a lot of this when you just take a break and you stare at it to see all these things. It's the gun that you make a mental list. You go back. What needs some tweaking a little. Fix these things real quick before we go too far into the rial. Tight, tight details. I see a little lying here that shouldn't be there. There's one in there. Get rid of that. Soften that away. And a little smudge tool here to go just a little bit more to get rid of here. That appear clean up a bit. Yeah. Uh, bring this watch. Is up here a little bit of future for pointing there. Cool it down a bit lighten this up a bit more. All right, So pretty much have a nice foundation for color. Now it's time to go in and actually tighten it up. That's what we do next. We'll start right around the area again. Um, zoom in on the left eye and start working there. Grab some color from over here. And but some 11 here as well highlights here and there. I'm gonna do a little bit of this variation detail, but here, with white skin textures and what's happening over here. But some down here as well. Some of the highlights there last hairs out here as well. This out of the ways, I can see some of that detail going on in here. Grab some of this flesh tone here to the reverse. Bring some of it down here as well. - Kind of going back and forth right now. The, uh, sampling the first home and, uh, get in the way and going into the flesh tone kind of making it make a great nation from one to the other. With that out of the way, once you get to this point in the picture, you don't really have to use the swatches as much because you could just sample a lot of your colors from within the image back when I, uh, right after. I, uh, don't do in the black white version of this When I was just color voting everything I was basically laying down my own swatch palette that I was gonna choose from to be doing what I'm doing right now. So it's kind of what I'm doing. No kidding. Get a next variation of skin texture in there so I can make this look good. Tight high resolution illustration. Work a little jumping around here real quick. You see the circle there? Let me just grab it. Random colors with the salt key pushing down with the brush tool. It's likely they just sampling different colors and just kind of spread it out, planting it in very quickly. But this thing, uh, over here for right now over and keep working, keep adding tighter details. I go little find details on the skin like little hairs. - Some of this is so smoothly just gonna break it up. But some texture in there just a little too smooth, so really want some kind of graininess in there Just kind of scribbling lightly with the brush tool. Uh, size 10. A soft brush. Step over here. Very this up. I I got to jump around a lot sometimes because it just my mind or my eyes get real tired staring at the same spot so long, it's got a kind of reboot my vision by just going over to a different spot. Looking at another color, another detail. My swatches up here. Do you think I need a little bit more blue in? Here we go. A little bit of highlight detail there. Little bit bore here. Here we go. Pronounce this little area here a little bit better. Okay with that there. So grab a little bit of this green and put a little bit of that in there a little bit. Not too much Bill. Blues tooth. Then out of the way again. Have a little color. Put some of that in there. Just a little bit here and there. That's love it up here. Some of that there's I had a little bit of expect there 19. DIgital Painitng Photo Realism 16: across. Okay, Minute. It was him. Out. Take a look at it, and we're gonna want to do. Now it's crab. This tone here, back, back, some of the tone on the lips. A little bit, maybe. Let's see, Maybe have a little bit of this cool color here down there. Some of this of here. That on and let's see, be a little good at it. The head to the lip There. Can I have? I'm gonna grab some more of this tone right here. Dusted long there. So that gets me on a little bit of red down here, you know? So a little bit of red there. Think Burn told us could be parent ills at the mid tones, you know, maybe highlights. I knocked that back a little bit right in there. Okay, back this back a little. They're right there. Definitely. Right there. Okay. Okay. And I want to go in the background real quick. Blast away some of this here. Just a little bit over here. Some of it right here. It's a very there can go out. Zoo out. Blasted out of there. Right. A strip along there. And with that class that I'll retire here and maybe some highlights. Here. Brighten it up a bit. I'm on over here. Blast this away. Whips. They're blasting out last on sea belt, So Okay. And then come in here. I know we're gonna even some of this out with some brush tool set to normal mode to do that . I think we're just gonna sample some of this here. Just can't planned it a little bit fanning out of it. You can even this out of it. Some hair smidgen of this color here. Over here. A little bit of that right here. Actually, Maybe some of this gray over here and here. Kill it back a bit right here with That's this great tone. Some of it up here. Definitely some of it in this area right here. When a blend a little bit over the top of this and I'm gonna refined that. The bid, perhaps some of this, but they done there color mode. Now let's see, what can I do here? Well, we'll go back into normal mode and have a little bit more of this flesh tone over here. Fan it out like so maybe grab a little bit of this tone Put it in there with their lighten up to Syria over here. Values the mid tones that try that. See what that does a little bit. Lighten it up. Appear That kind of works. Get up there. Here. It just kind of jumping around here. Can get a balance going, uh, thinking about pushing this hair line up just a bit there to do that in many of the smudge tool. So, yeah. And what's that around there? Perhaps. Then blend that over a little bit. Right here. Good. That Blend that over. So dust that over there. Good. This and dusted over that and over that this this I need to blow out highlights and search over the mid tones part underneath it. Todd's this over here? Maybe a little too much. He's to be warmed up with Teoh. Some autograph, this color mode. Let's see if luminosity color mode still luminosity for you. That's my leg. And, uh, Dodger Peck again? Just a bit more. Really? That's better. All right. Another quick modification. I just noticed while I was taking a break staring at it. Um, this I still seems too long to me. It's not that. Cut and paste that and try to shorten and see if that helps it at all back and forth to like, this would be, I think, or what I'm looking for right here. All right. Uh, and then, uh, I think this eyebrow dips down where this one goes more across, It looks like So I wanna make sure toe remember that as name touching this up. But I think of him Copy paste that right now and move it up. Like so. So I also think of in a slower work on the hairline. I think I brought this down too far, so I'm gonna push that up a little bit. Can it ruins the effect. What's going on in the original photo? I want to make it crooked again, but I don't want to make it down. Salo. Certain funny personality thing going on there with that much of her forehead showing its kinda wanna retain that. Oh, let's push that up there like that. Grab some of this color down here and go to normal breast. Malibu Creek quips That's dissolved. I want that. And then just kind of go in there and blending in a little bit before I go on in Texas. Up some. You could have, uh, extra blending over here. What's gonna knock this back a little bit in this town here as well, Like one. And tighten the stuff up in the last round of tightening. Okay. Trying to think if there is anything else I wanted to fix as I was staring at it, smooth this out a little bit over here That in a bit more across the top. There. I think that'll do it. Something like that. And possibly sure he touched the sub town here as well. Came along with edges here. Some of the highlights in there. I got this lady right here a little bit more What that does for it. They're like so, yeah, I think perhaps burn to a little bit more down here dark in this overall make. So and first tool color mode. Even this out a little bit here, out here on here. All right. And we're gonna finish up here, Um, the one last quick, uh, tightening and everything. Pretty much. And so I mean, I've got my brush set to color mode, and I'm just gonna go in real quick here. That was some red, just kind of color, over seven details on the inner inside the eyelid and get a little bit of I just hit a few spots on here, quick. I get some of this red that's in here, and there's a lot of various colors in there. Then we'll try Teoh incorporated here. I'd like to try to maybe enhancing a little bit my my own way and add my own finance to it . A We'll see how that works out, though. Sample some of this, uh, tan of here a little bit in here. Okay. And, um, I think what I'll do here is, uh I see that this tilts up a little bit. A little bit of, ah, squashed V shape there. I don't have that mind. Someone try to incorporate that? Maybe by pushing some of this around with the smudge tool first. See how that works for me? Pay attention to the width. Here, get a little bit more of this width in there about here. Okay. I must went over to the breast tool. We'll just have a little dab shape there, and I'm gonna try to get some of this. Some of these darker decker brown. Here's a network and color morning. I switched out to not back to normal mode Here. See, like these two start ups here and try to incorporate those in there a little bit. See, that helps me out. Here's the 1st 1 And here's the 2nd 1 It was a trade, A pronounce few, These random details a little bit better in here. I think so. I got a copy when I see over here a bit, and then I'm gonna come down here and, uh, had some additional details. The Zion ashes Don't some sampling from around the area trying to get it, but the detail a little bit varied off a little. Um, I also had a little bit of still a little bit of blue. The iris in here yet, Tad Bit of this power here. ST my brush time A little bit. Kind of scribble. A little bit of some variations in there, Grab a little bit. This green tent here. A little bit of that in there as well. Just kind of mix it up a little looking back and forth training. Balance it out. Thea reference photo. A little bit of green over here. Perhaps. Grab that blue again and just lightly sort of in there for that. You need with this over a little. This is a little bit wider over here. Someone just kind of push that over, but or maybe even see, push it both ways. Pushed the iris in the other direction. It happened. This, uh, this over here, especially in the back, um, area here. It's like I should come down a little bit too. I'm gonna smudge that down, mix it up a little bit. Okay? Smudge surround. Shake this up a little bit. So it's not such a hard line. See, over here, it's There's no line over here. It looks like that. And I'm just gonna do a little bit of jumping around here. Had some detail here in their sample. Some, uh, colors from the surrounding area. Graham. A few from the color swatch. Black and white, like dark in this black. A little bit. And it down here. Get rid of this lane, not get back a little bit. Hi. In this weight of the eye, down a little bit more. Um, get this a little bit like tough as well. Have some color from over there, and then I will try to knock this down right here. This area looks little dark. Nothing like that going on over there. Someone take that back a little bit. Switch over to my soft edged brush to I have a little bit of the high color in their green . And put that in here. I see a little bit of greens and yellows and just variations of reflective color in there. Captain and their citizens a monochromatic. Okay, grab some of this up here. Down here. Okay. Try to get some of these highlights in here to take my eyes off that iris for a minute. 20. DIgital Painitng Photo Realism 19: sample this and bring some left over here. Maybe down here a little bit. Sample some of that. Okay, um, we'll see what happens if I grab some of this color going to color mold. And just with a little bit of that up here, see if that's not too much. Might be helps. Find out over here. Cool that down a bit. I was in there a bit up here, Come up here. And they locked layer and another was a little bit on the edges of the hair. What that does for it. We'll flip it back. Now flip this one back. Uh, all right, right back. Continue moving forward. Doing the same thing. Just having a lot of scatter skin texture and people for in these parts long and tedious. But I wanna get every bit of it down on video imagining a lot of viewers out there Probably just kind of skin through these parts. It's very long road, so we'll just keep rolling here. I'll try to talk when I can, but if I go quiet, it's it's mainly just because a lot of same thing and concentrating, moving. Forget some of this stuff done So here we go. The black from up there at the I trained for some of that in here. Just a little bit Targeted. A bit. A bit of highlighted hairs. Barely. Make sure that's in there. - A bit more red down here, over here. And I'm gonna get some of that up here. - Purple , but that blue green. Okay, a little bit of some variations around the eyebrows. - Okay , get a little yellow here. Other mode credits and yellow from up here and just puts love it in here. Like so that grabs from this flesh tone. And I understand a little bit with it in it for the Orange Prize. Told Mixed together Medicine told there Go back to bruh. Normal mode. Herding the cats Speaking all their noise. Take a look at it. Detail really helps enhance that, I think. Okay. Keep going here. Panning textured in the skin. As I go, it appear perhaps some of this town here scribbling around. I now was adding variation. The texture, same plane bits here. There different colors nearby. But they appear pink lower coming by now. Tighten it up. Same things kind of variations of the skin, skin texture. Lighten this up a little bit up here, perhaps with that tone. Bring it over here. - All right. Uh, he, uh, got a color mode real quick with the brush tool and try to affect a little bit of some of these colors, and they see over here and in here a little bit. Read in there. Some of this CNN tape you number mix with red pinks. A little bit of the future. Purple pink color, whatever that is. Various tones in there. Uh, some of this blue there. So this green back in a normal mode, dark in some of this black. And the people here, a little bit of the eyelashes, variations up here, here and appear in the eye. Bro Area. Clean this up a bit. Here. See, there's a cut line from when I moved it earlier. That sound you just heard. Micro picked levels of the dog at cats and dogs all over the place. In here. A few cats, couple dogs. I like to occasionally make a nice interrupting sounds in the background while I make it my videos. A big, huge German shepherd laying on my floor. And he likes to make big, loud, groaning sounds while he's stretch it out. And there's a black lab next to him. Two dogs hanging out with me while I do my work and some obnoxious cans in the background making up and the noise getting in trouble this much, too. Break up that little cut by in there, darkness up a little bit down here and give a little more texture. 21. DIgital Painitng Photo Realism 20: It's of tight detail in here. Get in there as much as possible. Dark in this town here, - dark in this town here. - Some are lions from cutting that pasting that or they're gonna get rid of those We go. Yep. This is a very tedious process here. Taking a while feeling feeling impatient. We'll see this thing get really one of the most boring parts right here. - Take a look. It's coming along. Continuing ahead. Switch over to the Dodds tool that the mid tones lighten up a few things. Let's see here. Yeah, this is a little bit lighter over here. That up a bit, this down here will disappear between the flashes a bit. So playing that thing, I've right there, too. Also, I'm gonna try some spatter brush tricks on the cheek here, since I get moved away from the tighter areas a must see if I could making me these words a faster process. These down some grain on the face of making the layer for that real quick and clips from brush me a tool that is. Try this. Get down one size, grab some. This texture and their exit up a little bit. that down. It'll work a little bit. Excuse me. Uh, grab a little bit of this. Come over here. No doubt. Size the brush. Planted a little crabs from the other tone. Just kind of blend it up a little difference. Better brush. Now to mix it up a bit. That looks like a little bit right here. Upset too much. So, man. Absolutely. A little. Uh, but open this up here. That tone a little bit of that in there. A bit of this Too large. The brush. Okay, so, a little little bit of texture there just a little bit. Um, I grabbed this tone Little bit of that in there. Okay. That tone mix that in there. Like so, perhaps some of this go up here a little bit That down gripped this brush for a little bit of a variation. And back to the specially. And that's a big from that. Mix it up a little, Semple. It makes that sample it mixing. Sample it, like said so. Sample there fit in there. I have this color down here and throw some of that in there. Scroll over here. Have a little bit highlight there. So that down. We'll hear some Dell over here through a little bit down, slightly bigger brush for variation. That may be too much hands to near Lawson and none against that works. All right. Yeah, we grab this. I like that. Just happened in there a little bit and perhaps some of this come up here. Be right there. Have the best out snitch. I need a little bit more. Grab that color council of it. Hair? Absolutely. This place right there, the bigger perhaps I was too much. All right. I'm gonna go back now to my, uh, dad burst there, and I'm gonna play a little just a little bit on top of that. Well, too strong there. What? Strong here, too. You need something even out this tone on the slip a little bit this darker toned down here just to them here a little bit. Call me to the side of this face here and the Do some work real quick. Okay. Scroll down and fix up some of this down here a bit to fix up this little white area down here as well. Number 14. Brush here. Pretend for a second. - Scared . Moving this a little bit late it up 22. DIgital Painitng Photo Realism 21: Okay, take a break on. We're kind of some of the skin texture, and we're gonna come down here. We're going Some of this collar T two first ability saturate some of this warm toned down here. I'll grab some skin tone from upon the face to sample for color, switch my brush over to color mode, Then just knock some of this back in here like so de saturated and I grab little color from there. Just color that in around here. Neutralize it a bit. All right, I'm gonna go back to normal mode of my brush, and, uh, we size it down a little bit and just start adding a little detail between these places here. Might start with some dark and, uh, just kind of fell in some of the cracks that you see in here some of the lines and patterns between the pieces of fathers in this color. And I'm just going to start, you know, I'm not gonna make it exact, but I'm gonna emulate closely as possible some of the patterns on their without being totally exactly see some of the shapes over here, like like this shape here. In fact, let me just come over here to the reference photo, and I'm going to show you real quick. Um, some of the shapes I'm seeing in here. Okay, Um, I see, like a like this grouping right here of these patterns of the fuzz. I'm looking a little bit of that, or actually even include some of this other detail. Here in the top, it's almost like an arrow are even, like, completely like a little fish shape. But there's a little stripes in here, dark areas, light areas. Um, my mind, my mind's eye. I just tried to simple buy that stuff just to give me something pattern hold onto is I'm translating that over here. So pick some of the dark color again, and, uh, go ahead and start trying to, uh, relate the pattern that I see over here again. Not absolutely. Perfect. Put as close as possible to get the right tones. Values use, etcetera like shapes. Right here. I'm just kind of trying. Copy this middle. Save here. Like so for a little dark area right there and over here, like so a bit of some dark area right there, perhaps filling, uh, well in a few little squiggly lines here and there. Just tried toe jumble it up a little bit, make a little bit more randomness. It's not a perfect pattern, as long as we have the highs and lows in there. Just get a little dark color from over here, uh, color in some of these cracks. More dark valleys between the hi that areas. I can make it really random. No, no perfect lines, just kind of scribbling. They're just little bits of foz couple light dots in their sampling, some of the later color and putting those at the peaks of the little little bit of fuzz little columns of artificial for her collar. Little bit of this power down here like so again sampling uh, most of my tones and colors from within the image that's already drawn Awesome little detail down here. Sample that color. Bring it a little bit a little bit down here as well. Have a go, uh, and again, I'm just using a soft edged brush size seven. We'll try to emulate this shape or here I didn't hear Little Dark Valley come down here had some more darkness here. That's more detail over here. sample a little bit of color there again in this exercise? Absolutely No, no sampling color from the reference photo. You know, it's part of the part of the process to learn condition yourself how dio find colors and use. And, uh, right now, I'm not trying to mimic the color into straight the hate drawing in there. I could go back in there in color mode and, uh, wash over and change the color. So I'm just trying to get the detail from away here and try to take care of the spot right here. Some darks there that don't belong. Some, uh, take care. Some of this stuff here with the the collar. Rather the upper part of the cold air. Others. Yeah, it's kind of a white, white colored. It looks like it's kind of a light tan, but the lighting and making it look like it's weight. So I'm just gonna scribbling a few little Tufts and burn here. Bumps, patterns? Sure. The highs and the lows are on there, so I try to change the tone here. My parents, if I can smooth a little bit of this out as well us over over Plead here. That little area up here under the chin needs also to be a worked out as well. So some of that over there, uh, some colors here again, I'm coming over and referencing different points of shapes of lights, highlights and shadows happens picturing them, trying to keep it somewhat close. Second uses a point of reference. I picked that color there without that area here, and there was a little a little bit of gray in here on the chin. Do this area now like it up a bit? Pillow. Been detail down here. A little greatest right now. But like I said earlier, use the brush color mode. Bring back some of the reddish brown hues that they're in this area right now. I'm just trying Teoh, build up the Harry doesn't hear you bring up a little hairs and a little piece of selfies. They put some color from there. Whenever you see that circle, it's pretty much me and Melky and sampling some color lights up here. It's starting to get that shape that's over there in the reference photo back here. Besides, the brush up a bit and get this color from this watch I'm actually going color mode now and start. Bring him back a little bit of these tones. It's just color mode. Just, uh, basically changing the color of the pixels that are already laid down. Think so? I'm gonna go back to normal and, uh, get a little bit of that red brown in there. Some detail down here. - I'm on color mode right now, and, uh, correct the colors. Get some of this red brown worked out in here, that color red chosen right now. Just kind of make it a little bit more reddish and then mimic over here. It's like the burn tool set to shadows. And Mina, He's that too dark in some of the darks. Even some of the values a little darker. Make the shadowed areas a little more pronounced back here. Here, just like the working in their back to brush tool. Now back in a normal mode. And, uh, pick some black, soft edged brush south size. And it was dark in this down a little bit near a little bit more detail. You see over there in the reference photo, all this is can it pretty well, dark and down. There's a little bit more variety of dark detail in there. Sample. Matt. Bring out a little bit more of the reddish brown fibers in here, so a few little squeals in there. Fibres help make those cracks between the fibers a bit more pronounced or D town Here we're here. I feel a little bit just a little bit here that that area is mostly dark. It's a dark down here, not trying to, uh, look too much like the other one over there. I'm just trying to get a little bit. Make the pattern like it's not realistic in these fibers in this artificial, For with that detail in their smart highlights here, use it obviously, right here. That's open camp. But down here, bring up these pieces of little hairs the highlights and bring about a little bit more, a little bit of weight. Their sample of maybe over here trying to make this pop just a little bit more on some of these very tips brighten up with highlights. Little tiny dots. See that over there in the reference just little dots. So it's over to the doctor to little quick and set the highlights. But that looks like if I come in here and, uh, just giving an overall lighten, lighten it up a little bit. Looks little bits here and there. Try to make it look really warm. Dodge Tool set. The highlights definitely really changes the color, but I don't worry about that right now. We'll be able to fix that with color mode. Brush tool. Try to make these little tips. The fibers pop a little bit more, Captain, that sunlight Really bright, Really hot tips of the fibers. So down here limited here, Papa. Just a bit. My brush tool color mode on a Put your samples and color and just knock that back a bit. Neutralized the excessive warm colors. I have the Dodge Tool can I might try the number 14 spatter. Brush size up a bit. You get a little variety from them. Not sure if it's gonna work with. Try this out right here. See if it doesn't. It was about also try to do it from a distance a little bit smaller so we can try to emulate the shape he was set to mid tones here and see if that helps to dodge, Tool said to mid tones. We're kind of a little bit more of these highlights in here. Just glancing back and forest for the reference to my heart. Quick. Just tryingto make it look like that area of the Colorado. So I did like that. Okay, I have a little bit of the color from appear color mode. I knocked that back of it. 23. DIgital Painitng Photo Realism 22: What color down here To pan a little bit of that out. Bring out some of that red brown a little bit in. Here you go. All right, let's get there. Now go zoom into this area here. Work out that little a little fuzzy button and shape next to it. First, a mother knocked back Thea yellow, orange tone. Have a little bit of that color in there. The edges here in color mode. I'm gonna go to normal mode. This brush here, color some of the highlights. Bring out some of those little bits of highlights on the fiber. Scribble that in there. You see over here, bring some of that out. So a little bit of it over here. It's kind of grayish, but, uh, fix it with color motive after lay down the tones guys in the lows right now, but in a little highlights on the fibers. So this hair in here like that, that's straight hair. That's a good, random detail in there. Little imperfections like that really helped the realism of the portrait. I'm a sample that color there in the dark, Dark in that in right here. Those low areas put in there? I think so. That color for me? Yeah. It's in that area there. Thrown in here. So collarbone last owned. Not this back. Work on this area here. Now, A little bit. Get the shape of this thing. Um, first, fix the color here. He adjust the hair as well go back to normal and have that color there. I'm looking it to shave. Um, they started adding some texture, some fiber. And here, based on on the detail I see over in the reference in this darker area here, that hair a little bit too. Like that. Writing up this hot spot here in the hair. A little bit lighter there. More detail over here while I'm at it. Sorry, I don't tend to jump around a little bit with this highlight stuff right here. Once again, putting a little hot areas, dots, little white dots here focus on some of the high areas over here on the shape. The actual reference something little columns of fiber. I worked in there like so see over there Some stuff up here. Columns of fiber. You know, it almost looks like a little, uh, well, pine tree. Actually, it's a little branches at a pine tree. First someone for that little columns I looked a little pine branches like What's up here? Like a little pine tree and, uh, going under the hair there on an angle. Some of these directional columns of it's over here. Sample a little bit of the color from within the images. We're off this up in here. Some of the highlights in there from sunlight skimming the tips of these little columns stuff from over there as well. Back to the flesh tone. Some of that. Maybe a little bit of this color as well. A little bit more pinkish red in there. Get a little soft. I need to bring some of this dark stuff in here as well worked out down here as well. Highlights hot spots. Hot spots down here. The poor, random little glints fibres. What? We're here as well. So that color here rough this up a little bit. These edges up that the white kind of paved the way they do it a little bit. Or Rafa rougher here as well. A few of these hot spots over here. Few indications chip away a few little areas down here kind of rough up these edges. That seat belt detail worked in there. A little patterns on the seat belt out here. Little lines like so Graham that color over here before the start cracks valleys. I felt this in a little bit here. Finer detail about her. Zoom out quick from find out a little bit. A little bit of that color. Go back to another mode and try to adjust the tone. You of this area? Quick split bread brown over here. Color a little bit here with the Dodge Tool. Set the highlights. I could make some of these other high areas pop a little bit more. We'll find smaller brush. Just cast scribble live scribbled down on the tips of the fibers. Get some real hot spots. Bring out some of those little blintz. No. Here, color mode, color a little bit in there too. I sat trade a little bit over here. Well, uh, tones right here. Smudge tool. Clean that up. Be a little blood and see if that works that I might soften too much. Maybe I won't do that. Back to the brush Normal mode. Have some dark. Do that instead bring in a few more finer, darker details in there. Think so. The deep areas between the columns of fiber, Jenna, emphasize little cracks a little bit more with fibers. Sample some of this color down here. How there is. I got my burn till now. I'm saying shadows and I was trying to the opposite of what I did with the highlights. Make the doctor areas darker. Some of these spots right here. Um, all right, don't move up to the hair. Now, mark on the bottom section, this hair believes pallets of away get these two documents positioned and to start with, um, I think what we need is the brush tool. A small bus work with lighter colors first and just kind of drawing those fine hairs. Tom, in rule, we'll find some back and forth between the highlights and low lights. Some of these hotter points in the hairs that are unlocked, the layer here and, uh, pain outside of the shape when the layers locked. Obviously, uh, he couldn't paint within their and we get so this stuff over here look at some of the highlights there. Straight hairs, A sample of that color. There get a little bit, Uh, Hughes, those tones and some of these some of these hairs I'm gonna lay down. Uh, well, it doesn't have the exact again. I'm gonna use the color mode to go over it and correct the tones. Bring in a little bit of the dark here again. Just go back and forth between the dark highlight kind of Liam over each other. Have with that color and bring in some of the highlights here. Try to make the hair a little bit more random. Not just about toe flowing lines. Some of its broken up some, uh, details. Right there. You can see him. Just little, little, little broken up. Dark areas next toe. A little bit of highlights. Um, but the shadows a little inconsistent little lines here, break it up a little bit. I just can't keep going back and forth from dark to light. Put down little dark climbs little saddled areas, and then come back to the light. But wisps of highlights over top of it. Keep going back on board until you get a pattern very similar to the hair over here on the reference photo wisps over here a little stray hairs coming down here with their own thing . Highlights from there. Just a little broken lines, too. A lot of little broken lines over there. But this little hair in here is Well, I like that little random detail with detail in here as well. It's more of those broken lines. Wisps here and there. A little glistens in there. Piece Right here. Make the hair a little bit crooked. Get some of this detail you see here. Well, here as well. These little poking patterns. Crazy little curly hair right there. Smart. These, uh, lost random hairs. Just kinda going in their own direction. Little broken pieces of highlights. Just catching a little piece of tonight. 24. DIgital Painitng Photo Realism 23: variations down here in the bottom and clean up the very edge in the bottom here. And, uh, I said earlier in the video, if anybody has any questions, some of this isn't clear. You can't see the cursor. Very well. I know sometimes the video capture process does not capture the cursor and go to small in certain colors. And if you get a little lost seal was doing Frida reach out to me and, uh, just asked me what I was doing. Give me a time code in the video. What part? And, uh, I'll get back to you since possible. And I'm working on this little kind of weird area down here. It's like a chunk of hair. I kind of randomly sticking out with some Really Hi. Highlights blown out. Highlights on it. I'm just trying to grab some colors from here and there. And I get that, uh, that shape figured out in there picking colors from around different places and mixing it up. Little grey area down here dark in there. Some color from up here, but, like happen in the highlights color white grant. This, uh, we're 14 spatter brush shape and, uh, brings Aladdin there in that area. There needs to be repeated over here. Emily. Best I can. More random hairs. I gotta go to color mode now. And I picked some of these colors in the hair you see over here. Grab us. Uh, that's kind of a light tan color and just color mode that in there, Mix it up a little bit. I have this color. You did not a little bit over here Over here. I just got a little greenish yellow tent in some spots, so I mix my colors a little bit. Capture that tone. Can use the color boat right now on, uh, some of these colors in here and even it out a little bit. A few undesirable shades in here. Zoom out on both. These were quick. Get a get a peek from a distance here, see what looks like Go into, uh, pick the Dodge Tool here, turn that up and helps. Does tool and, uh, dodge out some of these highlights a little bit. See if that works, - but some are thin. Find it there with the Dodge tool and get that number 14 spatter brush. I'm just sizing it up and down and trying to whisper it in their safe. It's committee desired effect might be a little too strong, so it does a few little areas here and there. I must set the mid tone. See if that helps to stabilized some of the detail in here. This brush for a second that works. Switch over to the, uh, brush tool. A normal mode. Just get small brush in here again. It's in this area here. Some of these wild, crazy hairs over here. I just can't stick it out side of her hair, paying down a little bit. Take a look. What's going on up here. Start working on some of those details. Well, random bright hairs in there. Lights. I took a little orange right now, de saturate that about color mode in a few minutes. Here, first time to go and lay down some of these really bright hairs that are just, If you look at the reference, they're not really consistent. Any major flow, they're just little broken of highlights here and there, referring to the whole shapes of lights and shadows theory looking for shapes, shapes of lights. More than thinking about his hair. It's one of my favorite ways to refer to, uh, work in something like this. That's when you do on a hair. You're basically focusing on a lot of little little shapes. Interconnecting shapes, shapes of lights, shapes of shadows. Thinking about eventually doing a material video on just doing the hair wisps here and there. A little tiny stems. My hair. They're sticking out right there. Just catching a little piece of sunlight. It feels really help back to realism. Pop Little little pieces here and there. Tiny wisps of highlights Sample some of the colors from around the area. A little variety, some of that dark over here That makes it a little bit. What does it become? Too? Monochromatic Samples, samples, detail From here, I work on this little area. No samples color from there. Put a little bit over here. A bunch of little random hairs in here between the part. I kind of do my own thing in here. I'm not looking really at the hairs on the follow reference. I'm gonna put in my own little patterns in here right now, focusing on whether and at the hair looks really come down here. a little detail work. Sample some colors from the face With that in there as well. Read a light detail over here. Wisps. Very small. Very fine. It was called right here. Big it up here. Zoo out. Now, I try to do a little overall touch up here and there, its color looking over here, those palatable ways. We get a look at both pictures kind of detail we can, uh, implementing here pretty close to the finish line. A sample of that color there. Dark. A little bit of some. Some of the tracks up here. It's patter, bus tool. Bring in some of those low areas a little bit more up here. Some variations that need to be a little bit darker in the reference. Follow. So looks like it needs a little bit more bonding. Maybe this color here, a little bit of that in here from our orange hues. And, uh, I just Can I use this brush here looking at the face right now, seeing a lot of this warmer area right here here, Any to pull a bit more that in my picture, it seems to be lacking it. Some of the try to amp that up with this, uh, burn number. Sienna tape. You and, uh, big brush. Just got fan a little bit of it in there. I hope it's not too much. Knock it back for the ISM. Grab a little bit of this tone. Here, Put that in There. Might be that a little bit of but a pink. Have this red here. A pack A little bit. A little bit of Rosie Nissen. Chief a little of that color. Fan it out over here. More red. Pick up. I picked out a color for these lips here. Copy What I've got going on over there in the photos if this works, okay. Kind of works back to normal load, soften it back a little bit. A little bit. All passed. The energy dusted out there a little bit softening back a little. Back to dad tools in Thailand, just like in a few areas here but here. Size breast ups. Kind of late in that area. A little bit of give and take breaking up this area Just a little bit more. Little bit of color mode correction in there. Lock this layers go here at the top just the edges with color mode a little bit. Have a little bit of this cool color here. It's kind of cool that down just a bit and appear at the top ever so slightly a little bit . Cool that down a little bit and maybe amplify the cool tones in here. Just a smidge. Look down here on the chin as well. I see the whole cool spot. I've been up here a bit on the bridge of the nose a little bit over here. 25. DIgital Painitng Photo Realism 24: but at the bridge of the nose a little bit over here. Warm that Larry up a little bit. Little bit more rosy pink in the cheeks. Go back to normal mode to lighten this up a little bit Here. A little bit of warm sample some of that. A little bit down here on a little bit of our situation down here as well darkened in this little spot right here. Kind of jumping around doing some, uh, who could last minute modifications in the background right now. Just fixed few details back here as well. I can well, in this over a little bit. Cut out that sexually mayor earlier. I told this up a little bit. Her. I mean that. Lighten this up a little bit. Here, grab a little bit of that warm color from that side of the hair. I'm just gonna kind of dust that in there a little bit Well reflective. Uh, you there on? See that work on the seat back here Just cannot lighten up a little bit, maybe adjust the Hughes a little bit. A little bit of this, uh, reflective, um, warmer color. The Dodge tools to highlight make the top of my seat, but up a little bit more since I changed the pattern and the reference follow. It was that nasty plan. So just make some of these other pot details up here, pop a little bit more than they are in the reference photo. Just to compensate for what? I changed there, talking that area down in this area. Down dark adversary up here. Zoom out of both these. Take a look at him from a distance. See a couple modeled places that need to be down here. There, Turkey. This guy right here. Shadows dark. Just a little bit of the hair. A little bit. A little dark area. Well, that were contrast in this area. Here is well, when the war contrast some over here as well the wisps here and there Little Hillary's any just fine tuning in the contrast down here dark in ip Some of this in this family. I'm gonna see some of the fibers on this for color. I don't wanna Midtown my take the Dodge Tool like this up a little bit. A little too muddy and dark hair like mine up. And then this area here, look at the reference photo. Mine looks like it's just a little bit little bit misshapen. I think I need a wide in this here. Here, a woman do is used to dodge tool set the highlights kind of blow that out a little bit more . Could push that hot spot wider. Dodge told. Put a little bit of horns in there. Might actually leave it, though. Not sure sample some of this color down here and, uh, you know what? The Brasco and I just a little bit of this here as well. Some color from the lip. Maybe a little bit of purple on there, Kind of like a cool, reflective tone coming from somewhere off picture. Some of those purple down here just ever so slightly on the bottom lip, a little bit of a reflective quality. Sample that color there and smooth this out after all, a little bit, uh, extra highlighting their ceiling in this area there. It's just there's a little little hot spot and then late that up a little bit as well. Some I'll take a look. Dodge this out a little bit here for the wisps here and there. I don't touches a little bit of detail right there. Just a little bit more. I don't know too much. Sample that color with cross tour. I could back a bit back a little bit as well. Take some color here and put it over here with this area here. Looks like it needs a little bit more smoothing out on a mine. So do that, like so a bit of highlight area there. Some of the cool color up here reflective back just a smidgen. I made up some of this with this or just tone him. I just can't skim the line of the eyelid. Just kind of bring that a little bit. But in this color, I'm gonna bring up here and just like that up as well. Just a little bit. Not too much. See, over in the reference, Harry is lighter. I work in this area as well. Just a few touches here and there. But here but here, some of that. Over here, here, More pink down here. Get that out of there. Quick. You look at it. Here's a file ahead. Open from earlier and earlier version of it. All right. Just some last minute finances here and there. He touches just, you know, can look at it without the reference for a bit here without a few. These spots in this up up here a little bit. It's much tool. I'm just kind of pushing some of the surrounding but back here, uh, kind of put that out a little bit. Hedge is a little hard. And over here, there's a little bit of some issues for my cut away. Some of the image from earlier. So I need to extend some of the seat belt clip over some of these pickle over a little bit . It's much tool. Soften this edge, soften this edge, bits of fiber out here. No mode. I just got awesome little bits of five year in there. SEPA the child seat cover. Well, I think, uh, we're just about there, and, um, I think I'm gonna call this thing done. I can really can't keep going for another probably two hours on this and just push it. Absolutely. Super tight photo real. But, uh, you gotta stop somewhere. And, uh, I think this is a pretty good stopping point. I'm sure there's a chance I may come back in the editing process and had maybe one more step. Maybe some a dent ums have to any of the videos. Bad, but we'll see. But yeah, just, you know, appreciate everybody watching this video. Thank you very much for your time. And, uh, it's again.