Digital Portrait Painting: How To Draw and Paint Realistic Eyes, Part 1

1. Introduction: As an Art teacher, one of the things that the kids that I teach ask me the most about, is how to draw realistic faces and make them look like actual faces, not just circles and stick figures as they used to drawing in school. I remember the fascination that I had in drawing and replicating pieces of my loved ones and people that I saw on the Internet when I first started drawing. But knowing where to start and wanting to do it are two separate things. Hi, my name is Jenna, an artist from Nairobi, Kenya. I'm an almost full-time artist and I spend my time either teaching, drawing my own art and selling it or running my other businesses. In order to tackle the question on how to draw faces, I decided for us to split it all into small, understandable bite-able chunks. That means we're going to start by learning how to draw the eye and then move on to other features of the face. Because I think by knowing how to render the individual features, then we can later on learn how to bring them all together and make them look realistic. This class is Part 1 in a two-part series on how to draw realistic looking eyes. In this class, we're going to be using the soft airbrush to render those eyes while in the second class we're going to be using digital traditional brushes, if I may put it like that. Such as drawing a realistic eye using watercolor brushes or drawing a realistic eye using pastel brushes or an oil paint brush. That is what we're going to be covering in the second class, as well as the eye facing different directions. I do have a class up already for anyone who is a complete beginner to Procreate. If you're a beginner and would like to learn the tools, tips, and tricks to Procreate before jumping into this class, feel free to check out that class before you come back here. But still in this class, I shall be explaining what I'm doing and why I'm doing what I'm doing. You don't necessarily need to take that class before coming into this one. If you've ever been interested in learning how to draw faces and in particular while using digital mediums, welcome, and let's start off with the class. [MUSIC] 2. Materials and Class Project: Since in this class we shall be using digital mediums, the materials needed are very few. All you'll need is an iPad that can support Procreate, as well as an Apple pen or any stylus that is able to draw on the iPad. For the brushes that we're going to use in this class, we are going to be using the soft airbrush, a modification of it that I downloaded off the internet. But if you can't access that one, you can always use the soft airbrush that is available under the brushes section. For the class project, I'd like you to follow along with the demonstrations that I'm going to be showing you. Then, once you're done, please post them in the class project section. If you need to slow down the video so that you can understand the steps that I'm taking please feel free to do so. All the resources as well as other reference images that you can use to just practice on your own can be found under the resources section. You can also find my Procreate files there. You can import the files into Procreate and see all the different layers that I had and also, observe the different colors that I use as I was painting my two eyes. Now I feel like we're ready to get into the class itself. See you in the next lesson on the theory of how to draw eyes. 3. Basic Theory Part 1: [MUSIC] Now I'd like us to start talking about the theory around eyes. I find that eyes are something that artists usually put it to be quite prominent when they are making paintings. You make the eyelids the focal point of your painting. That's by maybe making the iris really colorful or including highlights or maybe by making the pupil really, really big. It's really not necessarily that both eyes are made into the focal point, it can just be one eye is made into the focal point, and the one eye is usually in the face at a 3/4 view. That one eye that is in this other direction, is really need to be the focal point of the painting. Other than the eye, the other part that's usually made to be the focal point is usually the mouth, and for the mouth, you can generally make the lips to be maybe not as realistic as they are in real life by including the highlights or making the lips really huge. For the eye being the focal point, the best example is looking at Disney characters. [MUSIC] When you look at Disney characters, let's just start with this cute guy right here. You'll see that the eyes are made to be really, really big and the pupils are really, really big. That's usually the best example that I can think of. Even right here is this Elsa. No, this is Rapunzel. Even in the old cartoons, eyes are always really big. Let us now move on to expressions and eyes. Because eyes are one of the most important ways on how you get the emotions that somebody has behind their eyes inside their head. It's always expressed on their faces unless the person has a really great poker face. It all goes together with the eyebrows, the wrinkles, the skin around the eye, and the actual size of the eye-opening. Let's put it like that because now we're going to talk about it more in-depth right now as we move forward. Starting with this first eye, you can see that this person, let me create a new layer, has a neutral expression, there are no wrinkles other than for old age, there are no excessive wrinkles around the eye. The eyelid is covering the iris quite a bit, which is normal in real life, not excessively covering it too low or too high. Of course, with the eyes closed, you only be able to see the eyelid and the wrinkles of the eyelid or the top. There are also different lid, eyelid situations. Somebody can have a monolid, a hooded lid, or these lids that you're seeing right here. I'm going to show you different examples of those different lids, and that's also evident with the eyes being opened and also the eyes closed. This of course is with the eyes looking towards the left side. Then these ones with the eyes looking towards the right. One thing I want you to note is that for feminine faces, they don't really have a very strong nose bridge right here. You're going to be able to see a lot more of the other eye that is in shadow on this other end. Plus when we're going to check out the masculine pieces, that this other eye is covered a lot more so you're not able to see it that much in the 3/4 view. Now, these last three are just a small example of how eye expressions come in. You remember I told you that there are three things to look at. Number 1, the eyebrows. Number 2, the eye opening. Number 3, the wrinkling of the skin around the eye. You can tell that in this first one right here, the person looks either angry or worried, of course, if we could see the mouth, we could also be able to make a more accurate judgment because the mouth also usually has lots of wrinkling around it and also the downturning or upturning of the mouth gives us that person's expressions and emotions. You can see here that the eye is being covered a lot more by the top lid right here, it's covering the iris quite a bit. Then the direction of the eyebrows are up-tied towards the center, which shows that distress. Then you can notice also the wrinkling between the eyes. You can see this wrinkling between the eyes right here. Now in this one, even without me saying anything, you can guess that the person is likely happy because you can see the wrinkling towards the end right here. That is from when the mouth is smiling right here at the bottom, you can see it's going to push up the cheeks right here. That is why there's always wrinkling towards the sides right here. Now that's just a happy face. Then lastly, this is, let's say more of surprised. You can see that there's wrinkling towards the top of the eyebrows. Then also the opening to the eye is really, really big. We can see more of the white of the eye right here. Even in some cases, you can almost see the white of the eye at the top of the eye right there. Now, before we move on maybe to the next one, let me just also mention something like the reflections of the eye and they're very evidenced right here, you can see the reflection of the light. I've just covered it with a color. They're always reflections on the eyeball itself. It's not only on the iris, the reflections are also always on the whites of the eye, which are truly white. They can also be right here let me zoom in quite a bit fast. They will also be quite here at the bottom of the eye. That is because the eyes are quite teary, so that's the reflection from the light around us and it makes this whole section to be quite outstanding. If I were to use a white color, just to emphasize, you'll see reflections here on the pupil on the iris themselves. Then they'll also be some reflection right here. This is just an exaggeration also at the center towards the inner corner of the eye. Then here also on this next one, you will see the reflection on the whites of the eye, and the whites of the eye are called the sclera. We're going to go into that in just a few minutes. That reflection is usually at the top, especially if the eye is completely open. Now this one, you can tell that the lighting in this other painting, in this photograph, you can tell that the lighting comes from the bottom. That is why the reflection is right here at the bottom. Same here. The reflection is right here at the bottom. That reflection isn't usually bright white but of course, in many paintings, you'll find that artists, including myself, they usually use a really bright color to make it stand out a lot more like in those Disney paintings that I've just shown you right now. But then again, remember that if that highlight is going towards the shadowed area, and this top part is always the shadowed area, even though I've colored it right now with white just to make it stand out, that whole top part is really a shadowed area. That's highlighted right there in the shadowed area is not going to be a bright white. Please make that highlight match the value of that section. Make it a grayish color. You'll notice that in my paintings, most of them, I will use a grayish color for my highlights, and only at peak top of the highlights, that's when I'll use a bright white. Otherwise, I always use some shades of gray to draw in my highlights. I'm just going to slightly mention for a male. Remember what I talked about when it comes to females, they have a very delicate nose ridge line. For the male right here you can see that it's way more prominent and you can see much of this iris here. Again that is just a generalization. In some cases, the nose line will be a lot gentler, but this is just a generalization. Then of course, the eyebrows are also normally really bushy. I am jealous of that, but anyway, [LAUGHTER] that aside, and you will find that most of the time they will not use a lot of contrast when it comes to their eyelashes. The eyelashes are not usually the focus of a painting and are normally exaggerated when it comes to a meal but of course, for a woman, you'd make them really long. [MUSIC] These are terms that are used mostly in the beauty industry to describe how eyes look like. But it's not something that you need to necessarily keep in your mind as you're drawing eyes. Just don't try to categorize it, but just notice the different features and differences between different eyes right here. Because you can notice that they are a few differences between all these different eyes, and of particular importance I want us to look at these monolid eyes and the hooded eyes because, for monolid eyes, you will find that they don't have a prominent crease compare it with this almond eye where there's a prominent crease right here at the eyelid. For the monolid eyes, the crease will not be that prominent you can even contrast between these two eyes, the left, and the right. The crease which means the color, the crease here for the left eye is practically nonexistent. Then here on the right eye, there is a little bit of a crease, but that's just the point for monolid eyes that crease is interiorly there that much, and you do find those eyes to be really beautiful. For the hooded eyes, you'll find that the crease is it almost overlaps with the eye. It almost covers the eye such that will not see this crease right here. Let me use a brighter color. That crease will be somewhere here, and it's covered by the eyelashes right here. That crease will be quite low. That's something I'd like us to take note of when it comes to different kinds of eyes. Maybe lastly again, close-set versus wide-set eyes. The distance between the two eyes is usually the length of just one eye. It means that if I were to cut, you will find that the distance between these two eyes if I had cut it exactly, it's just now that it's going to be like one island between those two eyes. But you will find that for some eyes, that distance is a lot bigger than just one eye or it can be a lot smaller than one eye. But generally, it's just the distance of one eye. [MUSIC] 4. Basic Theory Part 2: [MUSIC] It's really very hard to consider the eye alone without considering its relation to the nose here on the side and also the cheeks here at the bottom and the forehead here at the top because each and every part of the face works in conjunction with the other part. But right now since we're starting off just by drawing each and every feature by itself, then later on we're going to talk about the relationship between all these different features and how to now bring them together to construct a harmonious face or whichever face because most faces are not symmetrical in real life. If we were to start by labeling this picture right here, of course, this is the eyebrow, then here there is the eyelid, and of course there is the flap here of the lid right here. Then you'll find that this inner white part in quotes of the eye is called the sclera, then you have the colored part, which can range in colors from green to actually jet black is the iris, then the black inner part is called the pupil, then lastly, this inner part is called the tear duct. The sclera of the eye is never really white as much as in cartoons it's usually indicated as white or as you're drawing, you'd be tempted to make it to be white. Most of the times, it can be tinted either towards the red or the oranges right here. You select a desaturated red, a grayish color right here. Then it can go more towards the darker side or more towards the lighter side, as even indicated by this drawing. You can see this side and this side, they're both different shades of ''white''. Then when it comes to the iris itself, let me use a dark color anyway. If the iris itself is green, you'll find that the ring around it is a really dark ring. You can see that this inner part is lighter green than the ring around it is really dark. It makes it stand out a lot more. Then of course, for this reference image that I have selected, it's composed of different colors and different shades of those different colors. The inner section is a lot more orange right there, and it is actually quite deep going towards the reddish section right there. When you're painting it, you layer so many different layers of different colors or with different transparencies to indicate the beauty of the eye itself because it has so much beauty, and those different colors interact to create now that focal point that I was talking about. When it comes to highlights, it's very evident in this photo right here. There's really a highlight here and that highlight will also still exist within the shadow itself. It usually cuts quite across, even up to the iris section right there. Feel free to exaggerate the highlight to make the eye that you're drawing to pop a lot more and to stand out more. That highlight also exists here at the bottom. For this photo, that highlight, I think, it was taken outside at the sun. Even this highlight at the bottom can be extended right here to show the teariness of the eye right there. Then what else? That highlight, if you're, of course, continuing the skin around it and depending on the lighting situation, that highlight shall also exist right here on the top of the lid and right here on the brow bone right there, because that's where even when people put on makeup, that's where they put the highlight. This is a personal preference. I usually include a highlight right here at the inner corner of the eye, and then depending on the resolution of your photo, you could also include the highlight right here at the bottom lash line, there are usually some highlights which are related to these ones at the eye itself on the inside. You can include the highlight right there. That's why as kids we used to draw the eye like a cycle by itself because when you consider the eye in relation to everything around it, with the brow and everything, it's usually considered to be a circle. If you were to start with a circle like that and then let's say for example we are drawing the left eye, you would start with the inner tear duct corner, which is something like that, and then it moves on up. This is just a rough example of how an eye would look like. To move on up like that to the peak, and then now move on to the side like that. Then now when it comes to now the bottom lid, it's usually quite asymmetrical, this side now going to be shorter, then it moves and closes off to the other side right there. Of course something like that. Then here at the inner corner, that's where your tear duct is going to be. Then if we're now to draw the iris, the iris is usually in the normal neutral situation. The iris is going to be covered by the top lid. You won't see the full iris unless of course, maybe the person is excited or surprised. Then in the middle, I'm going to have the pupil. Then we have to also indicate the top lid. The top lid is going to come something like that. Then of course, the amount of shadowing shall depend on the lighting situation that we are considering. Then we're going to have also the bottom lid, which also goes with the shape of the eye , something like that. Then right here, we're going to have now the brow. Of course, the shape of the brow itself is going to be dependent on the person. If it's more of a feminine face, more of a masculine face, dependent on that. Then one thing that I want you to note is that there is a bulge when you are drawing the bulge of the lid, because remember that this fold is where the skin is going to be bunching up together. If you are now to bring in color, this line right here is going to be very dark right here to indicate the shadow, and then this dark shadow fades out as you move towards the outside. Also again here, it fades out as you move towards the outside. That's why I'm drawing these lines right here to remind you that there is going to be a graduation of shading as you are shading. You're drawing, coming out from the crease of the eye all the way outwards here, right here. This whole section of the sclera and the iris is going to be in shadow from the top lid right here. This line is not going to exist. This is just to remind you that there is going to be a shadow area at this point. Then here at the bottom, at the point where the eyeball meets the bottom lid, there is always a highlight right there. Then one thing to indicate that there is always a thickness to the bottom lid right here. There's always a thickness to it. Depending on the angle that we're looking at the top lid at, there is always a thickness to the top lid over here. Of course, the angle at which we're looking at the eye is going to now be dependent on how much of that thickness we are going to be able to see. That means the point at which the bottom lashes attach on is this section right here. It's not this inner section that meets the eyeball. It's this outer section of the thickness of the bottom lid. The point at which the top lashes attach is this section right here. Of course, this other party is the one that is in contact with the eyeball. Just to draw the eyelashes like that, is this top part because there is a thickness to the lid right there. Then there is always a highlight, also somewhere here at the tear duct. The tear duct is always going to be very dark and fleshy and reddish, but there is always a little bit of a highlight right here. Then here are the shadow area. You also always find a highlight, but as much as it is a shadow area, you will find a highlight that runs. No, depending on the direction of the light, either the direction is going to be this side or this side or front top, depending, doesn't matter. But now this is in a neutral situation. You're going to find that there is a highlight that just runs like here. It's going to cut across to the pupil a little bit. You can always add your own other little highlights, but just try to make it as realistic as possible. Then again, over here for the bottom lid, there is going to be a curvature to the bulge of the bottom lid because this right here is a crease before now it moves on to the cheek section. Because now this is going to be a cheek. Remember, this is where your nose is. Then there's going to be a relation between the eyebrow here to the bridge of the nose, right there. But we're going to talk about this relationship between the eyebrows and the eyes and the nose later on. But just remember that your nose is going to be right here and your forehead, to the top right here. There's always a highlight here at the brow bone, it's the section that people usually put highlighter whenever they applying makeup. There's going to be a highlight right here. If the highlight is here there is also going to be a highlight here at the top lid, at this crease, it's just going to be another highlight right here. For the bottom lid, you're going to see little highlights between the, what are they? The little lashes over here. You're going to see some white highlights. If we go back to this one, to this example right here, you can actually see those highlights. I've been pointing them out before, right here between the lashes of the bottom lid. When it comes to drawing the lashes. I'm just going to show you a quick example of how I usually draw them. I usually always use the studio pen because the lashes usually have a T bar. They start thick and then they become really thin towards the end. You can see it's thick right here and thinner towards the end. You can see thick and thin. Whichever brush you're using, remember to indicate that tip. Select another brush to show that example. Don't just make it to be a straight line in and out like that. There's always that tipper towards the end. Basically, now that is the theory behind the eyes. Now if I were to look at the eye towards the side view, maybe the eye facing in this direction. Now that is when you're really going to be able to see the curvature of the eyeball itself because this is how it's going to be, of course, going like that. This is just a generalization. You're going to see this protrusion of the eyeball right there. Then the iris is going to be right here. But the pupil is going to be not here at the end, but here at the middle. This is quite a big pupil. Then you're now going to be able to see the protrusion of the top lid right there and the protrusion of the bottom lid right there. Moving on to the crease right there. Then maybe even to the eyebrow right there. The news reach nose line is going to be right here moving on upwards. That way you can be able to see the curvature of the eyeball. Can be way more curved with less curve. But note where the pupil is, it's not right at the end, it's here at the middle. I urge you to go with your friend and try to look at their eyes facing different directions to see how the position of their pupil changes according to the direction that they're looking at. Now we have covered most of the theory behind drain eyes, and the best way to actually now be able to truly understand what we have talked about is just by actually getting into the class and drawing different examples of different eyes so that we can see all the different things that I have been talking about, about the curvature of the eye and the shadows in the eye and the highlights in the eye. The best place to get these examples for me is always from Pinterest because there you can find so many different reference images. Now, once we are done with this, if you're ready, let's move on now to the next part, which we're going to now start with a class demonstration by sketching it out. [MUSIC] 5. First Demonstration: The Sketch: Now let's get into the first demonstration. For both this and the second demonstration, we're going to be using the brush that I mentioned before, the soft airbrush. While in the next class, the Part 2 and how to draw eyes, that's when we're going to introduce different brushes that have traditional effects like watercolor brushes, oil brushes and stuff like that. If you're ready for that, let's now get into the first demonstration. What I always do is first of all click on create a new Canvas, but there's this Canvas that I've been using for a while. That is, the dimensions are 10 inches by 10 inches and 300 DPI. I've already pre-saved it under my list of available pre-saved Canvasses on the top right corner. Next, we're going to import our reference image. I already saved my reference images into my photo gallery, so I just import them. Then, I'm going to now select my sketching brush. This is the brush that I downloaded for free off the internet and I shall also link to where I downloaded it from. I always use this bright red color to sketch out. The way I'd advise you to look at the sketch whenever you're sketching is to be free with it. You can sketch a small or as big as you want to. Because either way, I like resizing my sketch to fit the canvas in the way that I'd like it to be. Don't be confined to make it too big or too small, that can always be changed later on. What matters is to just try and get the sketch to be as accurate as possible to the reference image. Now the accuracy sometimes doesn't come off as true to the reference image as you'd want it to be, but I find that to be because once you add in the colors and the shading, that's enabled to put the features exactly where they're supposed to be. I like to approach paintings as sculptures and you shall see that as we go ahead further within the class. Make sure that you include all the major details for the eye. For example, put in the inner corner of the iris. You can even sketch in where the pupil is. I didn't do that because, as I said, I like sculpting my paintings so that I'll put in the pupil later on. Sometimes you find that when you put the pupil at a spot where it's not supposed to be and then the eye seems to be looking in a direction that does not match the reference image. If you would like to access the same sketch that I've done, you shall find it in under the class resources section, and you can use the same sketch and just import it into your Procreate Canvas and paint directly onto it or from it rather, instead of sketching it yourself. But still, I'd prefer and I would encourage you to sketch it out yourself so that you can also get in some good practice. Now you've seen that I've just resized my sketch to fit the Canvas the way I want it to be for now. I shall still end up resizing the Canvas later on and copying off some bits and pieces later on. 6. First Layer Of Colour: [MUSIC] Now let's move on to putting the first layer of color. After we're done with the sketch we're going to create a new layer and this is where now we're going to paint the skin. You're going to see how I'm going to be arranging my layers as we go along. The brush that we're going to use for this class specifically is the soft airbrush. Now, this is again a modification of the soft airbrush. If you don't want to download it you can also always find it under the airbrush section of the brushes. [MUSIC] Now when it comes to the skin color that you're going to pick, you saw me testing out some swatches faster wall because I wanted to judge by comparison to see which color closely matches the general look of the skin of our reference image. We don't need to get all the different colors of the skin first of all. We just need to get a general color that shall paint all over then later on now start sculpting and adding the shadows, highlights, and other little bits and pieces to make it look all life-like. [MUSIC] Once you're done with adding the base coat of color for the skin, create a new layer where we're going to now paint the eye. When it comes to the organization of layers you'll see me switching the layers around because remember whichever layer is on top always covers whatever is below. For now for the eye I'm going to start by painting the sclera. Yes, you can see that right now the layer I have put it on top but later on you'll see me moving it below the skin layer so that I can be free with my painting of that part of the sclera. Now, the sclera is basically the white of the eye but the white of the eye are never white, they are always tinted. Now, if you look specifically at our reference image you can see that it's tinted a little bit to the pinkish, grayish side. Next up we're going to draw the iris. Create a new layer for the iris, don't draw it on the same layer as the sclera, just so that you can be able to easily paint. That's the advantage of digital art as I said before. Take advantage of all the little things that you can get from it which is like creating new layers. It makes it easier to arrange your work, to paint without painting over, move around your layers to arrangement that works for you. In the end I settled for the inner layer that you can see on my screen. For the iris use the same approach as we used for the skin. Start by placing a large base color which is blue basically for this reference image then now later on we shall add in the highlights and the darks. Depending on which layer is on top and which layer is below the upper you might need to do a little bit of erasing and cleaning up of edges. That's something that you shall see me doing as I go along switching from layer to layer. [MUSIC] After I was done with the iris the next step was to draw now the pupil. The pupil again I decided to put it on its own different layer. You should also do the same. [MUSIC] Pupil is basically supposed to be a dark black but you can also choose like a really dark blue, not necessarily a deep dark black. [MUSIC] 7. Shading The Skin: Next up, we're going to move on to shading the skin and making it look a little bit more realistic. After drawing the iris, I went back to the skin and decided to start bringing in some shadows and highlights to make it look a lot more 3-dimensional. Thereby picking a light pink color from the classic color selection section. That light pink color is what we're going to use to add some shadow to the inner corner of the eye. You notice that the reference image shows her skin or his skin. We can't really be sure to as having very many different colors. It's not just one base color, which is the difference between cartoons and realism. Especially if you're going for something that looks a lot more realistic, you'll need to use not just one color, but mix so many different colors. Blues, pinks, purples, yellows, oranges, everything. The goodness of digital art is especially if you use the classic section, which is what I love using, is that you can hone it down to the hue of color that you need. Whether it's leaning towards orange, leaning towards purple, leaning towards blue, and also for the brightness, you can also just use the slider to adjust the brightness of the color. Then again, use the slider, which is still there available to adjust the saturation of the color of the color that you need. When it comes to the top lid, it's a combination of so many different colors. Like you can see, the overhanging skin above the fold of the lid is a little bit tinged orange-brown and just below the crease itself. It's a bit bluish-purple, pink, so you mix all those colors as you paint. This is why for this class, I did not give a color palette that you should pick from. It's because it's a combination of so many different colors when you're drawing realistically. It's not like the previous classes where I would be able to give you a set swatch color palette. Keep on refining the skin and selecting colors just by using the slider. As you can see me sliding with my pen, selecting different hues, tint, saturations until you find what matches with what you can see on the reference image. Again, remember that what you can see on the reference image doesn't have to be just one color that you've selected and laid it on thickly, you can always layer colors by varying the pressure with your pen to create the look that you're looking for. If you want to create a smooth edge and transition between different colors, try to use less pressure with your pen as you are painting so that you can be able to smoothly transition between the two colors. The easy hack is always to use the smudge tool and you'll find me using it once in a while as I'm painting here. But you can always avoid using it if you want to avoid using it just by varying the pressure of your pen. That can also be done by color-picking really along that edge of the transition of color so that you can be able to blend the two colors together. 8. Shading The Iris and Sclera: It's now time to start shading the iris and the sclera to make the painting start to come together, and bringing some shadows and highlights to put those areas. Now, next step was to move back to the pupil of the eye and try to define it more after we've laid down some basic colors on the skin. The first step was to add now the dark ring of color that surrounds the iris. For that you can use a really deep dark, bluish, greenish color. Doesn't have to exactly match what you can see in the reference image. Remember, you can just interchange between the different layers to refine your edges, especially if your pupil and the sclera are on different layers. You need to refine the edge to make it blend more, and still to be very distinct from each other. [MUSIC] Remember for the first step, we just laid a layer of blue color and they said about later I'm going to add shadows, and now this is a step that we're taking right now. I'm layering different hues of blues and greens onto the iris to bring in some variation and visual interests to the eye because it's not just a clean blue color. [MUSIC] Now, I went back to the sclera and started adding a lot more colors into the edge of the eye, starting with the right edge of the eye using a light pink color because that's how it is in the reference image. [MUSIC] Pressure control is very important when you're drawing digitally, and they think also with most other mediums, because that's how you vary the look of what you want to get from your painting. [MUSIC] For the left inner corner of the eye, I used the same color that is at the crease of the eye, which could say it is like a more dark purple color, and you can use pressure again to make the deep inner corner to be way darker than the areas where it's fading out towards the bulging center of the eye. [MUSIC] Now that's how you make the eye look 3D by carving out the colors, making the outer corners be really dark, and then when it comes towards the bulge, the center of the eye and make it lighter because that's how eyes looked like. Looking at the reference image has either at the center, when the whites of the eyes are going towards the iris it becomes way lighter than the outer corners. [MUSIC] At the inner crease of the eye towards the left, we used the red color, the same red color we use when we're sketching to just use it lightly and layer that fleshy section of the eye. [MUSIC] Feel free to always use the color picking tool to lay down the color that you need at whichever section that it is. [MUSIC] One thing that you should always try to make sure that you're doing is drawing on the correct layer. Because sometimes you find that you bleed down so much color, but it's on the wrong layer and then now you end up having to erase everything or working around that mistake, which could end up being very time consuming. When it comes to the right section of the sclera, I used a light blue color, which actually tends to add gray to round out the white of the eye. Because as I said before, it's not a flat white color, and towards the top lid and the bottom lid they'll be a little bit of a shadow, then again, a little bit of a highlight. Now use those colors to round it out and make it look more three-dimensional. [MUSIC] Something that makes paintings stand out a lot is giving them a lot of contrast, so don't be afraid to go too dark. I don't really believe there's something as way too dark or way too light, as long as there's a good balance between the darks and the lights. For the pupil of the eye and the outer ring of the eye, go as dark as you need to go, just to make it stand out more. [MUSIC] 9. Adding Details To The Iris: [MUSIC] After the previous lesson, I think it's now time to start adding details and highlights to the iris because that's what makes the eye look realistic. Those reflections from the environment around the person who is the reference image, whether they're being photographed or whether it is like a life drawing. At this point, I started adding now the patterns within the iris itself. For that I used a really light blue but not a white, because we shall still use a white later on to add the brightest highlights. Right now it's just to carve out the tiny little details of the pretty patterns within the iris. [MUSIC] Use really light pressure as you're doing this. Again, the other alternative to the light pressure is to lower the opacity of your brush if you can't vary the pressure using your hand itself. [MUSIC] Once I've added the little light patterns, I now create a new layer beneath the light layer of those patterns. Now I add dark patterns to the iris, and to the pupil. [MUSIC] Again, what's happening here is just using very light pressure and the opacity of my brush is not at 100 percent. Our aim is to make it such that when somebody looks at the painting, they can see as if there are so many different layers to the eye itself. It's like it's somebody who's sculpted it and had a plan when they're going into the painting. [MUSIC] Again, created another layer even on top of the highlights to add the reflection that is within the highlights. You can see that when you look at the reference image, it's like there was a window to our right of the reference image and it's being reflected into the eye. Remember when you're drawing that window, that reflection of the window to curve those lines the way the eye curves. That is what also gives the illusion of an actual three-dimensional eye. To create those lines, I'm just using the same dark blue color that was used on the lower layers. We want it to look all harmonious. If you'd like to find all the different layers that I've used in my painting, please check the class reference section so that you can see all the separate layers that I used and use as many layers as you want as you need for your painting. I'm still adding more details to the pupil of the eye. After I was done with this point, that's when the eye stopped looking too much like a cartoon [LAUGHTER] and started looking like an actual eye. That's the beauty of highlights and darks, as I said before. Don't be afraid to push them as much as you need to push them as long as you have a balanced between them. Your painting doesn't look too dark or too light. In the next lesson, we're going to now add more details to the skin to render it a lot more because the skin needs a lot of work especially if you have decided not to use the smudge tool. You have to take the time to continually select colors, and blend between the different color changes because the skin is just not one color as I've already mentioned before. If you're ready, let's move on to the next lesson. [MUSIC] 10. Adding More Skin Details: [MUSIC] As you keep going along, you'll find that you need to make even more edits and add different colors to the sclera. [MUSIC] For example, to make the iris of the eye's timed out, I added a little bit of a lighter peach color just at the rim of the sclera itself for it boarders with the iris so that that dark of the iris could stand out more. They still went back to the sclera again and added way more darks where the lid overlaps with the eye, just so that I can also make that flap, that flap of the lid, because even in real life, you'll find that the lid casts a shadow to the sclera, to the eyeball itself to make now that boundary stand out more. [MUSIC] When you go back now to the skin, keep adding shadows to the lid of the eye and even to the lower eyelid, define the section where the eyelashes grow from the lower lid and from the upper lid. [MUSIC] This is why doing studies is important because when you do studies, that's when you can notice that there is an actual gap. There is little gap between the eyeball and this bottle where the lower lashes grow. That's strip of skin, is a little bit lighter than the spot where the actual eyelashes grow. Make sure that you define that section, add a little bit of shadow, and make that intersection a little bit lighter because that's what makes it look even more realistic. Same goes to the upper eyelid, you'll notice that there is a strip of skin between the eyeball itself, like that little thickness between the eyeball itself and where the actual eyelashes grow and it's a little bit lighter than the section, the spots where the eyelashes grow themselves so try to include that as well as your painting. [MUSIC] The skin needs a lot of rendering to make it look smooth and three-dimensional. As you can use the sketch is still there to guide us and it does make everything look a little bit strange as of now, but it still reminds you of other things that you need to add, like for example you'd need to add still the folds of the skin below the eye, and even above the eye, you can see that a little splashes of color that are indicative of freckles, you can add them if you'd like. As I go along, you'll see that I'm also going to add them to my skin. [MUSIC] When painting skin, let me see when painting with this brush in general, you will rarely need to have your brush at full opacity at 100 percent. You'll mostly have it playing at around 60 percent, 70 percent, sometimes going down even to 20 percent, just so that you can be able to really blend the colors together. As I mentioned before, feel free to use a smudge tool whenever you need to. But as we go ahead in the next class that I'm going to be posting, we're not going to be using the smudge tool at all. So just have fun for now. [MUSIC] What defines the bulge of the fold of the lid is making sure that the crease of the lid is really dark. Then there is a strip of highlight which is not necessarily white, white, but there's a strip of highlight now before you get to the where the eyelashes grew from the lid. That's what defines and makes it look like there is some curvature to the lid of the eye, to that fold of skin. Same goes to the top lid when it's carving from the crease itself, you need to make that color blend seamlessly from the crease itself. [MUSIC] I'll emphasize that when it comes to the drawing of the skin, please take advantage of the classic section for the color picking so that you can be able to easily use the slider to choose the color that you need for this game. If you see that the skin is, or even if it's the sclera or something else, it's tending towards white, use the brightness slider to finesse and find the exact color that you need. If it's tending towards a certain hue, use that slider to get the hue that you need. You will never really get this one color that you're going to use for the entire section of skin or whatever it may be, you'll really need to mix colors and that is why this practice is important even before we latter on go into classes on how to draw actual portraits without using any color picking tool for different skin tones. [MUSIC] 11. Eyebrows: Now, it's time to move on to maybe my best part which is adding eyebrows. I have a belief that eyebrows make a woman. It's always strange to you see somebody who you're used to seeing having eyebrows, not have that eyebrow. Let's now bring those features into place. As you go along. Just make sure you remember to label your layers so that if you ever need to go back again and see where you drew what and figure out what was where it's simpler for you to do that. Now, our whole image looks a little bit like an alien. Now, the next step we're going to do is to add the eyebrows and then later on the eyelashes. To do that, we're going to create our layer for the eyebrows then we're going to pick a dark brown color that's tinted a little bit red. But then again, you could also use a color that's tinting towards orange, that's not unlike a lighter brown. You can also use that. I'm going also to lower my opacity again, as well as the size of the brush and then I will just use short strokes of the brush to draw the tiny little hairs. There are so many different ways to draw the eyebrows, and this is just one method and you'll see different methods in some of the other paintings that we're going to do. For the first layer of "hair", I'm using very light pressure. Then now the second layer for the "hair", I'm using more pressure. You're going to see the hair is becoming darker and darker as we add more and more layers, that is I'm going to be using a darker color later on as well as more pressure with my pen to make the eyebrow to be way more thick. The person in the reference image has bushy eyebrows, which I am very jealous of I have to say. We're going to try and imitate that by layering so many different layers of hair so to speak. Remember to draw the hairs in the direction in which the hair is growing. Do not just paint it in any which way or use squiggly lines because the hair is growing in a particular direction. It grows up towards the inner corner of the eye. Then, when it goes towards the outer edge of the eye, it starts leaning towards the right, so grows up towards the right, up towards the right and you'll see me later on trying to correct because you can see the lower parts of the eye, the hairs on the eyebrow, are little bit to straight so I'm going to end up using an eraser, later on, to weed them out a little bit. You'll notice that the hairs in the eyebrow also have a little bit of reflection from the light so we're going to also still use a light color to draw some indications of hair that has light reflecting off of them. 12. Eyelashes: [MUSIC] Now after the eyebrows, let's move on to the other important part, which is adding eyelashes. The eyelashes are going to be on their own separate layer. For that I'm going to use a dark bluish color. I love using the studio pen from the calligraphy section to draw the eyelashes. [MUSIC] To draw the eyelashes, just use small shot flicks with your pen. Note the direction in which the eyelashes are growing towards, the curve along with the curvature of the eye itself. Then that again also still gives the illusion of your painting looking all three-dimensional. Remember to use less pressure on your pen as you're flicking outwards because the hair becomes more fine and thin towards the ends of the hairs themselves. [MUSIC] Note the point at which the eyelash is attached to the lid. It's not on the intersection of the thickness of the lid. It's on the outer section. Remember when I was talking about that thickness of the lid itself? So, note where you're attaching the eyelash to the lid itself. For the lower eyelid, use a lot less pressure because the hairs there are very fine. You could lower the opacity a lot more if you'd like to do that. Again, note where you're attaching the eyelashes to the lid. For the eyelashes towards the inner corner of the eye, they are way more fine so use a lot less pressure when you're drawing them. You'll also notice that the eyelashes have some reflection from the light. To indicate that reflection, what I decided to do for this painting in particular, was to create a clipping mask. Then to use a lighter color on that clipping mask to change some of the eyelashes to a lighter color. You'll see me doing that right now. I've already created a clipping mask. I'm just using a light color and painting on top of some of those eyelashes to indicate that reflection from the light. Instead of doing this, you could also just create another layer on top of this eyelash layer and use now this light color to add a few light-colored eyelashes. However, the goodness of the clipping mask is if you find out later on, you decide later on that you do not like the look of the eyelashes the way you've done them now, you could just easily delete the layer of the modification to the eyelashes without affecting anything that was originally painted. [MUSIC] 13. Final Highlights: We're now approaching the final bits of this class. In this lesson are going to be adding the final highlights to the eye, and even some highlights to the skin to make it look all glossy. [MUSIC] What's remaining is just to add more highlights, and to refine the skin a lot more, and maybe to refine the eyebrows. [MUSIC] Now I'm adding highlights to the sclera and even also maybe more highlights to the iris of the eye. I'm taking a bright white color, but I want it to tend towards blue. I'm making sure that I'm on the blue section. Then I'm adding those highlights to the sclera. There's going to be a highlight along the lower rim of the eyeball, that shows like the eye is a little bit teary and reflecting light, as well as more highlights maybe on the edges around the iris on the sclera itself. You can add different random highlights, even towards the inner corner of the eye and the outer corner of the eye. [MUSIC] If you feel like you've made the highlight to be a little bit too much just lower the opacity of your brush. [MUSIC] Note that I also toggle the visibility of the sketch layer to make it not visible anymore because at this point we are done with the painting. We don't need the sketch anymore, and it would just be confusing. After you've removed the sketch, you can now see if you need also again, to add anything or to remove anything. [MUSIC] For this painting the brush that we basically used for everything was the soft airbrush and well, other than the eyelash brush, which was the studio pen, but you could also use a soft airbrush for the eyelashes. I just find it easier to use a studio pen. [MUSIC]. 14. Second Demonstration: The Sketch: [MUSIC] For this second demonstration, we're basically going to be using the same brushes as we used for the first demonstration. Because as I said, they're the simplest and most commonly used brushes I'd think. So make sure you import your reference image. For the next reference image, I chose this one. Then just resize it and move it off to the side away from everything. Create your sketch layer, label it, and pick the sketching brushes that you're going to be using with the red color and get to sketching. Again, as I mentioned before, do not really worry about the placement, we shall still end up cropping our painting to the size that we want it to be like. So for this, I want you to look at the relationship between shapes. Do not think of it as an eye or as the curve of a head that is in profile. [LAUGHTER] Just look at the shapes there. Like if it is a curved line or letter S, a gradual S, oval or a circle or a straight line. Just look at it like that and look at the relationship between different lines as we are sketching. Here's the easiest way to draw to be honest, rather than cramming different formulas as to how certain things look. Yes, there might be general formulas, but the best way to draw even for a beginner is always just look at the relationships between different shapes. Look at the negative spaces besides the shapes, look at the angles at which the different lines intersect with each other and that helps you to draw pretty accurately without needing to use any measuring tools just by using your eye. [MUSIC] For this painting, for this pause in particular, you need to note also the shape that the eyeball makes when it is turned off to the side. You can now really notice the bulge of the eyeball beneath the lids and you can notice the bulge of the lids over the eye. You can even see the lower lid traveling behind the eye because the lower eyelid in particular can see the bulge towards the back and also for the top lid you can notice that. So that's why I chose this pause because it can help you to do the observations and note how the eye looks when it's looking in different directions. [MUSIC] I can speculate that the most difficult part for this painting in particular shall be getting the size, shape, direction of the iris and the pupil correct. So do not worry about that so much. The way that are going to be able to be sure about how we are placed it is once we add the shading as I mentioned in the first demonstration. That's the best way to know whether you've placed things correctly because your eye will instinctively note and know if something is off. [MUSIC] Do not be too hard on yourself and try to be loose and remove all preconceptions of how something is supposed to look. That's how you're going to be able to see whether you've made a mistake, whether something needs to be moved, tweaked a little bit or not. I keep on moving, tweaking a lot when I'm sketching. That's how you see I don't really use straight lines once. I just use multiple lines as I'm sketching, and then I end up erasing the lines that I don't need. Because by using those multiple lines, I can tell which one is where it's supposed to be and which one is where it's not supposed to be. [MUSIC] After done with the sketch, we're just going to crop everything to the shape that we want. [MUSIC] Next up we shall be laying down the first layer of color, just as we did with the previous demonstration. [MUSIC] 15. First Layer Of Colour: Create a new layer. Now this time, we'll need a background as well as the skin layer. Create both of them. [MUSIC] Then now add the background color, which seems to be tinted a little bit orange but towards gray, once you lay down a color and you see that it's not what you need, you can always just tweak it. I noticed that I painted the background on the wrong layer, it was an easy thing to change. You just change the labeling that had put down. The layer for the background should be below the layer for the skin. You'll see me moving the layer of the sketch to the top because the sketch layer should always be at the top, not below any other paint layer, otherwise you want to be able to see the sketch. For the skin, again, as usual just pick the base color that you can see generally runs across the skin. For this one, I wanted you to be a little bit tinted towards the red section. A bit red. It's not really tinted towards the orange, but it's tinted a little bit red. You'll see me changing colors a little bit until I find a color that I really, really want. I decided to change the color because at first I thought that I had selected a color that was accurate, but I saw that it was a little bit too red, so I push it a little bit towards the orange side. Then I found that to be a little bit more accurate to the reference image. [MUSIC] After laying down the base color, now you can start adding the highlights and the highlights again, just by using the slider for the brightness. Just push the color towards the white section a lot more and you'll be able to find the lighter section, the lighter version of it. For the areas of the skin that were a little bit more red, I just push the hue slider towards the pink-reddish section and selected that pinkish hue. Then added that pink to the areas that have a little bit more blood like the fold of the lid, the top of the lid towards the inner corner at the nose, and also the bottom fold of the lid. [MUSIC] Again, when it comes to defining the crease of the lid, you can take a darker color. This one was pushing towards the red again. Take a darker version of the red, use the slider to easily hone down on the color that you need. Sometimes you might find that you pick a color, but it's not the right color. But that can easily be modified or walked around by playing around with the pressure of your pen or even the opacity of that pen. [MUSIC] You can try and carve out the shape of the skin, of the face as well by using the different values of color. For example, the side of the face, the eyebrow ridge towards the right is much lighter than the inner section towards the nose, the inner corner of the eye. That also gives that illusion that three-dimensional ness to the eye and to the painting. This session may take a lot longer than it seems to be taking for me here, I have sped up the videos marginally to be a little bit faster than what it took me in real-time. In real-time, each painting took me around, the first painting took me two hours and the second one took me one hour 15 minutes. It depends on the brush that I'm using. Different brushes have different levels of technicalities to them. Specifically, if you're not taking advantage of using the smudge tool and just blending the colors by color picking and varying the pressure of your brush. You might find that the painting takes a lot longer than you expect it to take. [MUSIC] For Caucasian skin tone, you'll find that the colors of the skin are on the pinkish orange side, but the value is much brighter than the one for the darker skin tones. The value is way pushed towards the white section than to add the darker section. This is specifically when it comes to digital painting, which I'll also do an example for darker skin tones in the next class and you'll be able to see how the color is selected for darker skin tones. [MUSIC] 16. Painting The Iris and Sclera: Now it's time to start working on the iris and the sclera, putting in some of those shadows and the base colors, and some more underlying colors. Now when you're done to some degree with the skin, you can now move on to the sclera, create a layer for that, and then select a grayish color for the sclera. It's not bright white so for the sclera in this reference image, I push the slider towards the orange section, and then lower the brightness of it. Note that you might need to go back to different layers and erase so that they do not overlap with the lower layers. For example the lower layer of the sclera or of the iris, you need to erase the skin so that it doesn't overlap with those two lower layers. [MUSIC] Then I colored the sclera all over with that color and then of course later on I'm going to add more darks and more lights to it. It's just the way we painted the skin tone. You might need to change around the colors are true picking a lot, so if that's the case also, you can use my Procreate files to see the colors that I used in my painting. Just import the files into your Procreate app and then you'll be able to go to the different layers, and see the different colors that are used on each layer. [MUSIC] Another hack is also just by looking at the section that I'm on when it comes to the color selection tool and use the same selection that I have done. After I was done with the base color for the sclera, I then moved on to the iris. For the iris I took the base color to be just a brown color, color it all over then later on we'll add the different patterns to the iris itself. [MUSIC] I decided then to refine the shape of the iris more, which meant that I needed to refine the sclera as well as the round shape of the iris. [MUSIC] Then after that, next was to work on the iris itself and they started by putting the dark ring of dark brown on the outside, as well as at the top of the iris itself, which indicates the shadow from the top lid of the eye. You can go in whichever format that you want. You could start by refining the sclera or by defining the iris so defining the skin completely to completion. I like jumping from section to section and moving in whichever format that honestly calls to me according to the painting. [MUSIC] I then added another layer on top of the sclera to add the pupil. For the pupil, I used the dark brown, almost black color for the pupil. Now again, remember I said that it might look a lot strange, very strange when you add the pupils right now. Looks like an alien eye, but once we add in the shadows and the highlights you're going to be able to see how the eye looks a lot more three-dimensional. Just trust the process as you're painting. [MUSIC] The inner corner of the eye is always quite red, fleshy so you can use that pink, fleshy color and make sure that the outermost corners are darker than the inner sections. That just makes it look realistic to real life. [MUSIC] Then next add also the shading to the sclera. Remember that the top lid shall cast a shadow onto the sclera so you need to make the top part of the sclera a lot darker. [MUSIC] If you ever find that you've pushed the color to be a little bit too dark, a section shouldn't be as dark as you've need it, you can always take a lighter version of that color and paint on top or use an eraser. But I do prefer using a lighter version of that color just to paint over it to soften the effect. [MUSIC] For this eyeball, you'll see tiny little veins on the eyeball itself on the sclera. You can add those little veins later on or even at this point, if you'd like, though sometimes it's much better to add such tiny details at the end so that you don't end up painting over them, though I know I added my details right now. [MUSIC] 17. Shading The Skin: Now in this lesson, we're going to start shading the skin. Making it look more realistic. After I worked on the sclera a little bit, I decided to jump back to the skin and define the skin a lot more. Especially the top lid and the bottom lid, they needed a lot of work. So you will see me jumping to those sections a lot of times and then once I'm tired of working on them I go on to other parts because I like bringing the painting to completion harmoniously, if I can put it like that. I wouldn't like to bring the iris to full rendering completion and then the skin still looks a little bit meh. That's just my own preference. 18. Refining The Iris: [MUSIC] I took a darker brown color, and continued to add more patterns to the iris itself. The same approach that we used when we were drawing the first demonstration. You just need to use different colors to add the visual interests to the eye. By using mid brown, a really light honey brown, and then a darker brown, and layering those all together, then later on adding the highlights on top and the darker shadows on top. That's what makes it very, very interesting. [MUSIC] At this point now I'm adding the highlight to the eye. The highlights as usual, it's added on its own separate layer. [MUSIC] I started by adding that highlights all over the right side of the eyeball of the iris itself. Then I'll add more layers on top and dim down that highlight, add different reflections from the environment around the first one. [MUSIC] It makes it really easy when you think of the steps as separated like this, using the layers rather than painting everything just on one layer, which is what is done when you're painting traditionally. But why not to take advantage of the tools that you have when you are painting digitally. Like now at this point, I'm moving onto another layer on top of this bright white highlights. For this, I'm using the brown that was used beneath so that I can carve in the reflections, and also add some different sections. I shall still use our grayish color. Some other sections, I'll use a dark brown color to carve in those reflections. [MUSIC] The key is to make everything look harmonious. Don't use colors that are not supposed to be at those sections. Of course, when it comes to photographs, the cameras really do not capture the beauty that our actual eyes see. So you can use some artistic license to change the colors that are on, that you can see in the reference image. Sometimes you've seen on skin there's this ash white reflection in photographs. You can choose not to indicate that ash white reflection, but even though you are not copying the reference image directly and you're using your own artistic license. Try to make everything look as harmonious as possible. [MUSIC] These patterns that I'm adding to the reflection of the eye are being added by varying the pressure that I'm using with my pen. Even though the color might be the same or different, it doesn't matter. But that variation is achieved by varying the pressure that is applied by my pen. [MUSIC] 19. Adding More Skin Details: [MUSIC] Again, I've jumped back to the skin to render it more. I have to admit without adding the eyebrows and eyelashes, everything looks very alien like. You have to, again, still trust the process. [MUSIC] Note what I meant by the thickness of the lid because we're painting something that is very up-close, you have to take note of such small details. Indicate the thickness of the lead, and that is suggested rather by the different colors as the direction of the skin folds change. Make sure that you keep that in mind and indicate that as you're painting. [MUSIC] Feel free to slow down my videos as much as you need to and repeat them as much as you need to that you are able to get down the colors exactly as they're supposed to be, and to get what I am doing. [MUSIC] Always remember to go back and label your layers. That's something that I always forget to do. I am trying to make it into a habit. [MUSIC] 20. Eyebrows: Now I've created a layout for the eyebrows. I'm doing the same process as I did for the first demonstration. I'm not showing you anything different right now. Just starting by adding the first layer of hair in quotes. That's just a light layer. I'm not using a lot of pressure with my brush or rather with my pen as I'm painting them, even the opacity you can see is quite low. You remember the direction in which the hair is growing. I'm using a brown color because the eyebrows on this person aren't that dark. [MUSIC] Now I've raised up the opacity a little bit and I made the color a little bit darker but still brown, not dark black. Now I'm adding the second layer of hair to the eyebrow. Since the person is a little bit tilted in profile, you can see the extension of the eyebrow off the edge of the face so you can make your eyebrow hairs protrude a little bit off the edge of the face. [MUSIC] As I mentioned before, in the next class in part two of how to draw eyes. I'm going to show you a different approach to drawing eyebrows, which can be considered to be a little bit easier than this one. But for now I'd like you to learn how to use this approach when it comes to drawing of eyebrows. [MUSIC] Sometimes you find artists have brushes of how to draw. How would I put it? Sometimes you find artists have brushes that have stumping patterns of eyebrows and eyelashes, which are good when you're saving time, when you're painting. But when it comes to actually learning, I find the best approach is to learn how to do it the harder way before you go to the easier method. [MUSIC] Remember, the little fine hairs at the edges will be a little bit lighter. You can use the clipping layer method to make some of those hairs lighter or just add another layer and draw those little hairs with that lighter color, which is what I did for this demonstration. [MUSIC] In the next lesson, we're going to be adding in the eyelashes. I'm sure it's going to now transform from alien eye to maybe realistic eye. [MUSIC] 21. Eyelashes: [MUSIC] Next up I've created now a layer for the eyelashes. Again, I'm going to be using the studio pen for the eyelashes. Brilliant pen when you want to draw eyelashes, and I'll explain why I'm using it in this painting while in other paintings I might not use the studio pen for the eyelashes. [MUSIC]. These eyelashes, since the person is looking off to the side, you'll find that the eyelashes look really, really thick, a thick band towards the right. Make sure that you do indicate that as you're painting. Again note where the eyelashes are attaching to the lid. [MUSIC] Take your time with this because after you add in the eyelashes, you're going to also notice other edits that you're going to need to do around the lids themselves on the skin layer. It's a whole iterative process because by adding some details, you end up seeing some mistakes, or rather not really mistakes, but more renderings that you need to do to different sections. [MUSIC]. For some of the eyelashes, you'll need to lower the opacity of your brush a lot more and that's specifically particularly for the lower lashes. They're much thinner and finer. The opacity of your brush needs to be much lower. [MUSIC]. Take as much time as you need to place the eyelashes in the direction that they're supposed to be placed because any wrong placement will make the eye look quite off centered. [MUSIC]. Next I added a clipping mask and started to try and add some highlights to the eyelashes. You can see I changed the brush back to one of the other brushes I was using before and then played around with the colors that I would use for the highlights. [MUSIC]. With a clipping mask color will only go to the places which have paint on the lower layer below. If you want to learn more about clipping masks, please feel free to watch the beginner intro class to procreate that had already posted, but in general, you can see the demonstration on how clipping mask come in handy when you're painting in this demonstration. [MUSIC]. 22. Final Rendering: [MUSIC] We are approaching the end of this second demonstration. It's now time to add in the final details rendering to our painting. Again, please note that you are painting might need different edits from mine. Try to see what needs to be added or what needs to be removed and do that as we finish up. Once I added the eyelashes, I noticed that my top lid on the intersection of the top lid and even for the lower lid, I needed to add a lot more definition and shading to them. Now that's what you can see me adding at this point. On the skin itself as well, it needed a lot more highlights from the reflection of the environment around the past one. I use the brighter color to add in that reflection on the lower lid. Take note of the places, the spots where you're adding that reflection because if you add it at the wrong spot, the look of the painting shall be thrown off a little bit. I went back again to the clipping mask and added some highlights to the eyelashes. Make sure that at this point you've hidden off your sketch layer because you don't need it anymore. We are approaching the final sections. After that, I needed to go back to my skin layer and add some more shadow to the top lid. To make it not look as strange as it was looking at this point. I also noticed that I needed to add a lot more darkness to my eyelashes to make them look way more thicker, and also true to form with the form of this eye. You'll need that after I added the shadow to the intersection of the top lid, the eye clicked into place. Of course, as an artist, sometimes you feel like the painting is never complete and you can keep on playing with it over and over again, but sometimes you have to pull yourself back and leave it before you end up running it again. I cropped the painting a little bit more and then again, went back to adding more highlights to the eyelids and to the pupil of the eye. Now at this point, I'm using that brighter white. At this point, I wanted to add some shadow at the edge of the face that was blending off with a background because even I noticed on the reference image there was that indication of shadow at the edge of the face. I think that was a reflection, that was the indication from the hair. I added that, then blend it out a little bit. I did use the Smudge tool for this. At this point, you are basically done with your painting. Sign it. We're done with the second demonstration. [MUSIC] 23. Final Thoughts: Now we've come to the end of this class. I'm so glad that you decided to take this class, and I hope that you've learned something out of it because I had a lot of fun making it and I always have fun doing this small little studies during my free time. Please feel free to post what you've created in the class project section because it gives me so much joy to see the creativity that people have and how their paintings come up. I'm sure your fellow students will also get a lot of motivation to paint when they see what you come up with. If you ever want to see what I'm up to or painting in real life, you can always follow me on Instagram and see everything that is going on there. I hope you're looking forward to part 2 where we are going to be using the different brushes that I mentioned to render realistic looking eyes. Those eyes shall have a traditional look to them because the brushes that we're going to be using are actual traditional brushes, such as the watercolor brush or the pastel brush. I can't wait to see you in my next class, and stay safe.