FASHION FACE DRAWING IN PROCREATE: FEATURES, ANGLES & SKIN TONES

1. INTRO: Hi, and welcome to this class. My name is Ala, and I'm a fashion illustrator. And in this class, I'm going to show you a clear, simple, and intuitive way of drawing fashion faces without too much anatomy and too many academic roles. We'll focus on shape and different unique facial features, and we will base everything on a simple egg shape. And then I'll show you how you can change it to draw a face at different angles. We will also practice drawing different facial features such as lips, noses, and eyes. Will also show you how to render different skin tones with different temperatures. For example, dark, cool skin tone or a warm light skin tone. Everything is demonstrated clearly appropriate, but you can apply the same techniques in any medium, even if you draw with pencils and markers because we are talking about basics such as highlights, shadows, and the forms. So this class is actually for anyone who's interested in fashion drawing. I believe that everyone is an artist. So grab your iPad, pencil, and let's start drawing. 2. TOOLS & SETUP: So first, let's quickly go through the pro creols we'll be using in this class. So I have four drawings on different layers, and let's say I want to select L three, it says empty layer. Why? Because I'm now on layer four, so I need to go to layer three, and now I can select L three and move it and do anything with it. When you tap on a layer, you can rename it and perform many different actions. Here, where you see this capital letter N, you can change the mode. Now it's N because it's in a normal mode. I can also drag a layer to the right to select multiple layers at once and I can move and transform everything that belong to those layers. I also can group several layers. Close the group. And now I'm working with everything that belongs to all these layers in one group. So here's our group. You can also rename it. You can duplicate it by dragging it to the left. When I tap this checkbox, I hide the selected layers or groups. If I want everything inside a group to become one single layer, I can tap flatten. Now it's not a group anymore, it's one single layer. I'll delete that layer and show the group again. If I tap on it and choose group, all the layers inside become separate again. Now, for example, if I have layer four above layer three, I can choose merge down. These two layers then become one layer. Now let's talk about how we'll usually organize our layers when drawing and rendering faces, bodies, garments, later. So first layer that I have at the very base is a base layer of base color. Above it, I create a layer called shadows. Above the shadows will have highlights. Usually above that will be the linework. Then I click plus icon and create one more layer and cool it details. It's for anything extra, we want to add to the sketch. As you can see, most of these layers are set to normal blending mode. We'll change shadows layer to multiply mode and highlights layer to screen mode. Very often the shadows layer will also be clipped to the base layer. It's above the base layer and I click clipping mask. I do the same for the highlights layer. It's very important that they are above the base layer. Let me show you what that means. I'm now working on the base layer. I create this circle selection. When holding my finger on the screen, the circle becomes a perfect circle. Then fill it in with color by dragging the color into the selection. Now I switch to the shadows layer. Which is clipped to the base layer. When I draw this clipped layer, I can't draw outside the shape of the base layer. When I try to draw anything, I draw within that circle only. This is extremely handy when you want to work only on a specific surface like skin or fabric. It works in the same way for highlights because highlights also clipped layer. If I drawn a layer that is not clipped like layer three or layer four, you'll see that the stroke appears even outside the circle. Next, let's look at how to activate the drawing guide. I go to Actions menu, Canvas drawing guide, and usually by default, we have a grid. So I tap Edi drawing guide because we need a symmetry tool. I click on symmetry and I get this vertical line that I can move around. So what this tool gives me? Now I go to layers and my base layer is assisted. I don't need that. I use base layer for color only, so I deactivate the assist and I go to, for example, linework layer and click assist. Now, when I draw anything on a linework layer, the drawing gets mirrored on the other side of the line. This is very useful for things like nose bridge or eyebrows that need to be mostly symmetrical. To deactivate it, I simply go back to the layer and turn the drawing assist off. You'll immediately see that my drawing is no longer mirrored. I also turn the drawing guide off from the actions menu. We only use a few brushes in this class. The first one is a six B pencil from the sketching set. The second is Jasinski brush from the inking set. We'll also use a monoline brush from calligraphy. Finally, we'll have a shadow brush, so I created in the drawing set. In a stroke path, I change the space into 10%. Then I go to grain, tap edit, choose import, source library, and pick B noble. Then I tap done. Next, I go to scale and reduce it to 13%. In wet mix, I change the grade to minus four. And that's it. You can tap and hold the brush to open the menu and rename it. I call mine simply shadow brush. We'll be working with four colors for each skin tone. Bye skin color, shadow color, transitional red, and highlight color. This structure stays the same four skin tones. I already have these palettes prepet. So this is base cool light skin tone, then shadows, transitional red and highlights. Here we have the palette for dark cool skin tone. This is warm light skin tone. And warm dark skin tone. All four of them are here. So you click Plus, and then you upload from the folder. Usually, it's a downloads folder if you download the palette using your iPad. Another very handy tool is the color picker. It's located right between the brush size and brush opacity controls. And there are other ways of selecting colors. You can explore a bit procreate and find many useful features. Next, let's look at the selection tool. This is a freehand selection, and it's extremely useful when you want to recolor or just a very specific shape. For example, if I want to recolor your lips, I select them using the freehand selection. Then I go to adjustments, choose hue saturation brightness, and here I can change the hue. And here I control the saturation, and I also can adjust the brightness, making a daka or lighter. You can also make selections using a rectangle or an ellipse. Another very useful option here is the add function. For example, I select one object, then tab ad, select another object, and add another one. Then I have all of them selected. Let's talk about transformation tool. I select your head. If uniform is activated, the object scales proportionally. If I switch to free form, I can transform it in one direction only horizontally or vertically. I can also flip objects horizontally. Another tool we'll be using is a smudge tool. I can make a stroke, then switch to smudge and work with the edges. This tool is very important when you're shaping forms and blending shadows and highlights. The eraser tool is also more versatile than it seems. You can use different brushes as eraser. For example, Jasinski ink and create this interesting edge. Now a few useful finger gestures, two finger taps to undo, three finger taps to redo, and a three finger swipe opens a quick menu. You can customize it in settings. And that's it. These are all the tools we'll be using in this class. You don't need to memorize everything right now. I'll remind you of each tool exactly when we need it. For now, just make sure your color palette is imported and your shadow brush is created. I'll see you in the next video. 3. NOSE: Here's our nose practice. I have four examples of different noses. I'm creating a new layer and I'll pick a red color just to make everything clear and visible. First, I draw a triangle right between the nostrils. In this example, we have a wider nose, so the triangle is more stretched horizontally. In the third example, the triangle is also flat in the last one, the triangle is a bit longer at the bottom because the tissue between the nostrils is longer, so the bottom of the nose. Now I'm repositioning these triangles a bit lower so we can actually start building our noses on top of them. Next pay attention to the shape of the nostril wings. Here they look more like the classic bracket shape we're used to. In this example, the wings are longer and much more stretched than in the first one. Here they are straight at first and then curved softly. Let me show that with green color. You can see that the sides are straight and then curved, quite similar to the other example. Now let's look at the shape of the nostrils themselves. In this case, they look like tiny drops. Here we barely see the nostrils at all. And in this example, they also resemble drops or small seeds, rounded on one side and chapa on the other. And here they look more like tiny rounded triangles. Triangles of this shape. And here we have this drop or seed like shape. In this first case, I would draw those triangles at a slight angle. Okay, now let's look at the outline of the nose at the bottom, taking everything into account, including the nostrils themselves. If you imagine this outline like bicycle handles, you'll notice that each one has a slightly different shape. To make this easier to see, I'll go to adjustments menu and reduce the brightness. Then I'll just move all these outlines downwards towards the triangles. So I'm moving this one separately. Next, let's draw the nostrils. I usually draw them a bit closer together than they are in reality. So here you see the distance between nostrils and the nostril wings. In reality, they are a bit further. So I'm adding nostrils here. These nostral wings are a bit similar in the second and third examples. And here we draw them a bit longer. Now let's talk about the nose bridge. In the first and second examples, the breech is flat, but we still add shadows because they are not completely flat. The shadows will be more subtle. To define the nose bridge, we have these highlights that help us see those shadows too. So in the third and fourth example, noses are more prominent and we have deeper shadows. When there is a bump on the nose, the highlights and shadows change. They are not just straight line anymore. The area with the bump becomes slightly thicker in the middle. So we differ the shape of the shadows and highlights. In the fourth nose, the breach is narrower, so the shadows are deeper at the top as well. To make the shadow placement easier at the draft stage, you can simplify the nose into a crystal like shape, basically adding extra triangle on the top of the existing one. This additional triangle helps guide your shadows and highlights later on. You will see how wide the nose is if it has or doesn't have a bump. Here is the extra triangle that I'm talking about. Here's where we would add shadows. Here we have our noses. You can draw as many variations as you want, keep them as references, and reuse them later in your drawings. 4. EYES: Let's practice drawing these eyes together. You can simply follow along with me. I'm starting by choosing a six B pencil in black and we'll analyze the eyes before drawing. I'll create a new layer and I'll use a green color so you can clearly see the points I'm indicating. We have two main points, the inner corner and the outer corner of the eyes. When we connect these two points, we can immediately see the difference in their position. The outer corner sits slightly higher than the inner corner. Now look at the line connecting them at the top. This is the upper eyelid. It's flat near the outer corner and becomes more curved as it approaches the inner corner. If we look at the lower eyelid, we see the opposite picture. The line is flat near the inner corner and it becomes more curved towards the outer corner. You look at all these things when you see some image that you want to redraw, and then you can actually draw that type of the eyes. Now I'm drawing the iris. Notice that the top of the iris is hidden under the upper eyelid. The same applies to the pupil. We don't draw a full circle. I'm showing some shadows closer to the upper eyelid to enhance the depth. I'm also adding small details like subtle strokes along the lower eyelid. This tiny details, they make face look more unique. If you see some lower eyelids, some tiny freckles or moles, you can add them. When drawing the inner and outer corners, try to keep them slightly sharp, so the eye is not too wide open closer to those corners. In this example, the eyelashes are facing downwards, so I draw them directly along the upper eyelid line just as I'm showing right now. The first model is Asian and often we see straight eyebrows with less dramatic curve. I'm just going to copy and paste this eyebrows. With uniform selected in the lower menu, I can resize the eyebrows proportionally by dragging any of the blue points. Let's look at the second eye. Here the inn and outcas are almost on the same level with only a very subtle difference. The overall shape is soft. I resembles fish or a leaf. We have a gentle curve on the top and wave like shape on the bottom. This wave changes direction roughly in the center of the lower eyelid, it curves outwards toward the outoca and inwards toward the inner cone. Now I'm making this incona look more natural. In this example, the top and the bottom of the iris are both partially hidden under the eyelids, but the pupil is visible. The eyebrows here are more curved, thicker and have more dramatic shape. Again, I copy and paste them just for the sake of the speed and we'll add some details later when we draw faces. My eyebrows on a separate layer and then I want to merge down. The eyes and eyebrows are on the same layer and just going to select the whole thing and make it on the same level as the previous eyes. The third pair of eyes is very similar to the second one but slightly more reclined, creating a cat eye effect. The outca the outer corners are higher, but the overall shape still feels like fish like and soft. I make the outcas again, a bit sharper. The eyelid line follows the same upper shape we identified earlier. Here again, part of the iris is hidden under the upper eyelid, which keeps the expression relaxed. I add eyeliner and eyelashes. Remembering that the eyelashes, they change direction. They are more reclined towards the out core and then they change direction as they come closer to the inner core. In this example, we can see soft shadows near the nose bridge. I show them with very light strokes and then draw the eyebrows. Here I also want to adjust the length of this part of the eyebrows. I can select them separately and just stretch. The last eye, I start by observing the position of the corners of the eyes, the shape of the upper line, the shape of the low line. The low line is quite flat, but it has a strong curve near the outer corner. I draw the eye shape based on my observations. Then add the up eyelid. Finally, I draw the iris. These eyes are bigger and more open. As you can see, we even have some space left at the bottom of the iris. Next, I'm drawing the eyebrows and they also curved more dramatic. Now I'm adding the eyelashes and you'll notice that in this example, the lower eyelid is prominent and I'm adding some shadows to show that. That's it. Now we have four different eye types and you can create as many variations as you like. Slowly build your own library of eyes that you can use in the future drawings. 5. LIPS: Let's start by analyzing the lips. First, look at the overall shape of the lips. The lips can curve inward or outward and you can see how different these curves across all four examples. Here's a bit flatter and next pay attention to the cupid bow, the top center part of the upper lip. The corners of the cupid bows can be different too. They can be sharp. They can be softly curved. They can be deep or flat as in this example. And you can see that we're getting shape like in a mama, and those s that we're getting right now drawing this up lip line, they're all different. Another important thing to observe is the thickness of the lips, how thick the lower lip is in relation to the upper lip. Sometimes the thickness is more or less equal and very often we have the lower lip a bit thicker than the upper lip. Then we have the line between the lips. This central line can be straight, softly curved, or you can have a double line in the center if the mouth is a bit open. When I draw the lower lip, I look at it as a bowl, so it can be rounded bowl, bow with straight sides and flat bottom. Now I'm going to turn on a drawing guide. I go to Actions menu, select drawing guide, and then tap the edit drawing guide. I choose symmetry and drag the blue line to the center of the first nose. You'll notice that the lay I'm drawing on now has drawing assist enabled, which means everything I draw will be mirrored along that center line. Drawing the first lips, first I mark the thickness of the upper low laps. Then I draw the central line. Next, I draw the sides of the upper lip, curving them slightly inward and then shape the lower lip as a rounded bowl. I want to adjust the corners of the upper lip a little bit, making them slightly more rounded. Now I reposition the symmetry guide for the second lip. Here, the central line is shaped like a bow and the lips are fuller and more rounded overall. The upper lip has a more rounded shape. If you want to change the thickness of the lips, you can simply select those lips and just resize them or you can select just one part, for example, the lower lip and adjust it independently. Let's move on to the third set of lips. Again, I mark the thickness. Here, the low elip is thicker than the upper lip. The central line has slightly lifted corners. I draw the shape of the upper lip and the cupid bow. I have a sharp corners. Then I add the lollipTing again of that bowl shape with a bit straighter sides and flat bottom. Now for the last example, here the mouse is slightly open, so we see two lines in the center. I draw the first line. It's a bit lifted in the center. Then I go down. Let's lift the corners a little bit. Then I'm drawing the top. We have the cupid bow and a bit more straight lines. I'm drawing second line in the center to show that the mouth is open, and I'm drawing the lower line as a rounded bowl. That's it. You can practice drawing many different lip shapes and just to draw them better and have a library of lips that you can reuse later to make the process faster. We'll also learn how to mix different facial features late in the class. 6. FEATURE MIX: In this lesson, we're going to learn how to mix the facial features that we created earlier. I open nose library and pick all the noses, then go to Actions menu tab, copy, go to gallery, choose my new project, paste. So I have everything copied already and I create a new layer and activate the drawing guide. I pick the symmetry guide, and it's important that this layer is assisted. I activate the drawing assist. Now I draw an egg shape. Sorry about my hair on the screen. I divide the egg shape in half and then I divide the lower half into three parts. You can see that the upper section is slightly bigger than the others. I select the first nose, make sure that you on nose layer, then copy, then paste and position it so the triangle sits just below the first guideline. Then I go to the eye layer, select the eye that I want. The first one copy and paste it, and then I adjust the size. In the bottom menu, I have uniform transformation turned on, the eye scales proportionally. I also slightly adjust the angle copy paste and flip it horizontally. I position it in the center of the left half. I merge the left and right eye layers together. Next, I go to the lip layer, select the first lips, copy, and paste them, and position them below the nose. I position all these facial features of this exact face just below each other. I duplicate the egg shape and then this copy is not assisted in just changing its position. I'll need it later. Go back to my face and I just want to change a bit the shape of this face. So I merging down the face with all these facial features that located just below the eyes, nose, and lips belonging to this phase. I erase the eyebrows because I want to redraw them. Now I keep them very simple just as a line. I select the nose. I want to make it a bit smaller and adjusting its position and changing the position of the lips as well. Now I draw the shape of your face. I want to change here as well. Here is hairline. And I'm drawing your ears again, above the eyeline and the bottom of your ears at your nose tip level. The first phase is ready. Now I deactivate the drawing assistance. I select the face and using uniform transformation, scaling it down and moving to the site to create space for another phase. As you remember, we have a duplicate of this egg shape. I'm activating the drawing assist and by accident is just in the middle of this egg shape. I'm opening the I layer, picking this hose, copying and pasting it. Scaling it down, changing the angle, and making it a bit flatter than copying and pasting. Flip it horizontally, position the middle of the left half. Then I'm picking the second nose, copying and pasting it. Make sure that you're on the nose layer. I'm doing the same with the lips, positioning the lips, scaling them down. Okay. Good. Now I merge down all the layers that belong to this phase. First, I need to position them just under each other before merging it with the egg shape, I make a duplicate of it for our next phase. Then picking the layer with my current egg shape and working on the face. This time, I want more prominent cheek bones and flat, stronger jaw line. You can see that the jaw line moves diagonally and then turns toward the cheek bone around the mouse level. Next, I'm drawing the headline. And let's have the ears. Okay, I just want to change a bit the shape of your ears, and then finishing your skull. And let's erase unnecessary lines. Deactivating the drawing assist here as well, and merging down this egg shape with other facial features. Using uniform transformation, I'm scaling down the face and moving it next to my other face. Working with the third phase, I do the same. I just pick the facial features. The third eye Then copying it, flipping horizontally. Next, I go to the nose layer and pick the third nose. Then I move to the mouth layer and choose the third mouth, transforming it to fit the face. Now, I redraw this egg shape. Again, you can see that the jaw line has a corner around mouth level. In this example, I make everything more prominent shape, the jaw line, the cheek bones, and a strong chin. I draw the ears. They can be more rounded or more angular depending on the character. Now, I scale down the third phase and move on to my last duplicated egg shape. I'm activating drawing assist. Again, symmetry just in the middle of this egg shape and make sure this layer is assisted. This time I'm actually going to draw the features instead of copying and pasting them. Right in the middle of each half, I draw these fish like shapes for the eyes. I draw the iris, so the top part is hidden under the upper eyelid. I draw the upper eyelid by repeating the top eyeline, keeping the corners sharper, the pupils are also partially hidden under the eyelid. Below the nosline I draw small triangle, and then I add nostrils. Next, I draw this upper triangle for the nose bridge and then cupid bowl. I pick the size of the lips. The lower lips are a bit thicker. Draw the middle line, then I add this rounded ball underneath. Finally, I draw the upper lip. Here I want to adjust the nose bridge a bit. I make the tip rounded and the bridge itself narrower. Then I draw the eyebrows, just following this nose bridge line. Now I shape the face. At the eyeline, I'm adding the cheek bones. From there, I draw diagonal lines that turn towards the chin at mouth level, defining the jaw line. At eye level, I draw the ears, then I draw the skull. And let's erase this. And finally, I draw your hairline. I decide to adjust the eyes again. I just want to change the shape and make them less rounded and more angular with a sharp cornice. And that's what I like about digital drawing that you can always make changes. You can completely change the facial features if you want to. Okay. I'm also adding the eyeliner. I tweak the lips, making them a bit flatter and just changing the position a bit. A bit lower. I also want to adjust the middle part of your nose, lowering it a bit. Now I like it. Let's add the nostrils to make the nostrils less visible, that's it. We've created four different faces. 7. FRONT VIEW: We already drew a pace in the previous class, but in this lesson, I want to fully clarify front face drawing. We'll go through the process step by step so you can really understand it and remember it long term. I start by choosing a six B pencil in black. Okay. So it's in a sketching set of brushes. Then I activate the drawing guide, go to the actions menu, turn on drawing guides, and then tap edit drawing guide, then select symmetry. Now everything I draw on one side will be mirrored on the other. I begin with an egg shape, just a simple egg like form. Then I divide it horizontally in the center and then divide the lower half into three equal sections. Next, I draw the ears starting slightly above the middle line and ending around the first section of the lower half. We've already practiced drawing eyes, as you remember, eyes can vary a lot depending on the position of the inna and outacornas and on the curves of the lines connecting them. There can be many different shapes. You can draw any eye shape you like. So really there are infinite possibilities. Here I'm going to draw eyes with a soft, slightly angled fish like shape. I add the eyelids following the eye shape and then draw the eyebrows. Now, let's erase this. Next, I draw a triangle for the nose. This triangle can be flatter, wide or taller depending on the proportions you want. On the sides of the triangle, I add nostrils, which can also vary in shape and size, larger, smaller, rounded, triangular. This connects directly to what we practiced in the nose drawing lesson. The outline of the bottom of the nose can also change. It can be flatter and softer or sharper and more dramatic depending on the type of nose. So here you can see many, many different noses, eyes that you can draw. Now, I go back to my black pencil. Just below the nosline, I draw a triangle and add the nostrils on the sides. In this case, I'm creating a small nose. Then I add a second stretched triangle on top to define the nose bridge. Next, I draw the cupid's bow. It can be longer or shorter, deeper or softer. A deeper cupid's bow usually means stronger shadows later while a soft one stays more subtle. I draw the top corners of the lips, making them slightly around it. Then define the thickness of the lips and draw the middle line. This middle line can be curved like a bow or almost straight you can open her mouth if you want, then you'll have two lines in the center. Again, we practice lip drawing earlier, so this should feel familiar. When you draw the lips, you can already start deciding where the chin will be. It doesn't have to strictly follow the egg shape. Next, I draw the cheek bones, placing them just below the eyeline, and then I draw the jaw line. If the sidelines are more vertical, the jaw becomes wider. If you add more slope here, the face becomes narrower. You can also increase or reduce the size of the chin. All of this depends on the type of face you want to create. For more dramatic face, you can add stronger structure, a bigger nose, maybe a bump on the nose, sharp features, thinner lips, sharper cheek bones. For more romantic or soft baby like face, you keep everything round softer jaw line, smaller mouth, but rounder lips and so on. Finally, I deactivate the drawing guide, and now we have a front phase ready. Using this technique, you can build and draw any face you want. 8. SIDE VIEW: In this video, we're going to learn how to draw a side view of the face. I have a reference image here and we'll use it to understand the structure. We already have front view head that we drew earlier based on an egg shape. Now the question is, what changes when we want to draw the face from the side? I create an extra layer on top and mark the same guidelines we used before. The ey eline and the division of the lower part of the face into three sections. I create a layer above this. Next, I draw a vertical line on the side where the face will be a curved line at the angle. For a side view, we need to increase the width of the skull in the upper half. So here I'm going to increase the skull. Once that's done, I connect everything with the chin. This gives us a new base shape adapted from the original egg specifically for drawing a side view of the face. Now we have our guidelines, I deactivate the layer below it. Let's just show these lines on our guidelines. Layer. Next, I lower the opacity of this layer. Then I pick my six B pencil in black. On a new layer, I start drawing the side view. I begin with the forehead. At the eye level, there is a slight indentation or depression, which helps define the socket of the eyes and the nose bridge. Slightly behind that, I suggest the eyelids on the far side of the face. Then a bit further inward, I draw the I itself. Here the I is built using two diagonal lines. The upper line has a gentler slope, while the lower line is steeper. I draw the upper eyelid following the top line, then place the iris and finally add the pupil. It's important to remember that the pupil is not drawn on the surface of the iris. It sits inside it, slightly recessed. These small details makes the eye look much more realistic in profile. I continue by drawing the upper eyelid, adding the eyelashes, next, just like in the front view, we use a triangle to build the nose. In the side view, this triangle is usually more stretched because the nose appears longer from the profile. I add the nostrils and then define the tip of the nose. The shape of the nose, the nostril wings and the length of the tip all depends on the type of nose you're drawing. You can make the nose longer or shorter and sharper or more rounded, flatter or more prominent. Below the nose line, I draw the triangle. Add nostrils and then wings, and then finish the nose shape. This nose bridge can be straight or it can have a bump. Here I slightly reposition the nose and stretch it a bit to make it more prominent. Next, I draw the cupid's bow. When drawing the lips and chin in profile, it's important not to place them all on one straight vertical line. We need this slope. There should be a subtle angle. The lower lip sits slightly inward and the chin sits even further inward. We draw everything at the angle. If this angle is too strong, the face will look like it has a receding chin, we should remember that too. I feel like my line is too strong, but let's see. Let's look at the result and then we can always adjust it. I'm drawing the middle line and then drawing the lips. In a relaxed neutral expression, this middle line can appear slightly angled downward in the side view. It's okay. And it would look differently in the front view if you did that. At the center guideline, and then I divide the back part into two sections. This helps me position the ear. Let's lower it down. But its position is similar to the front view. Just the top is a bit higher than the eyes and the bottom is at the nose level. I feel like I want to slightly adjust the angle of the lips and the chin. I make a small correction here. Next, I connect this line back toward the ear, which gives us the jaw line. Now I draw your eyebrows. When you're drawing a side view, there is an important difference compared to the front view. In the front view, the part of the eyebrow closer to the nose bridge usually looks longer. In a side view, that inner part becomes shorter while the more exposed outside appears longer. You can stop the eyebrow earlier on the inner side, just like this. We can finish here, but I decide to make her nose a bit longer. I pick all this part and just move a bit to the front and a bit lower. Then I close that nose bridge and finish drawing your jaw line. Once I'm happy with the proportions, I move on to the head. You can start the headline a bit lower if you want to create the impression of a smaller forehead. Next, I draw the neck. I place it roughly in the middle of the jaw line, slightly closer to the chin. On the backside, pay attention to the distance between the jaw line, the ear, and the back of the neck. That's it. We finish drawing the side view of the head. 9. THREE QUARTER: For the three quarters angle, I'm creating a new layer above the face drawing we made before there I'm showing this middle line and these two lines, dividing the lower half into three. Now I'm shifting your chin to the left and then following the shape of your skull and just connect everything with the chin. On the other side, I slightly increase the size of the skull. Pay attention to the difference between the side view and the three quarters angle. For the side view, we significantly increased skull. Here you can see the new position of the chin. Next, I turn off the face underneath and lower the opacity of my structure. I create a new layer and select a black six B pencil. I briefly go back to the structure layer to draw a central line, then return to my drawing layer. I start by drawing the I. This is how we usually draw an e in the front view, more or less centered in relation to the middle line. When we move slightly to the side, the shape changes, the outer side stretches more and the pad closer to the inner corner becomes narrower. Pay attention to the difference between these two eye shapes. I divide the left half into three sections and in one section that is closer to the central line, I draw the I with this adjusted shape. I draw the eyelid following the shape of the eye. Next is the nose. As you remember, we usually start with a triangle and then we add the nostrils and the nostral wings. In this case, we are using the same approach as in the side view. Still a triangle. This is a side view of the nose. Let's just flip it horizontally, and let's draw one more triangle for the three quarters angle. For the three quarters view, the nose is very similar to the side view, just a bit less stretched. I draw the triangle below the nose line. I want just change the angle a bit. I adjust it a little and then draw the nostrils following the reference image. I'm drawing the nose bridge. You can see small bump here. And then I add nostril wings. I want the nose to be slightly longer, so I lower the tip a bit and then finish the bridge. Just below the nostrils around the middle area, I draw the cupid's bow, then I pek the thickness of the lips and add the middle line. In the front view, we often show this corner of the mouse that I showed with a dashed line here. At three quarters angle, we just remove that far side. We round the lips on the side and don't draw that distant corner of the mouth. I'm not completing the lips fully, I'm just softly rounding them. Next, I slightly adjust the nose again moving the nostrils a bit closer to the tip. Y. Okay. Then I refine the angle once more and draw the chin. We'll have the chin below her mouth. Actually, I want to stretch her lips slightly and place them a bit lower. Now I can draw your chin. Now, I drop the second I. You can copy and paste the first I, then flip it horizontally. Then erase the out corner and round it off. That's all you need to do to get the second I. Just like in the side view, I draw the forehead, then create a slight indentation at eye level, show the cheek bone, and connect everything down to the chin. If you divide the right side into three parts, the ear starts around the second division. I draw the ear there and connect it smoothly with the jaw and chin. Next, I draw the eyebrows. At this stage, it's just important to draw the shape. For the second eyebrow, usually don't see the second half. Then I add the iris and pupils. Again, the top of the iris is slightly hidden under the eyelid. I add the eyeliner and eyelashes. Finally, I refine the nostrils to better march the reference. Adding soft shadows. So I'm darkening that triangle that we used to build this nose. Okay, so I'm fixing your chin a bit and softening this side line. Next, adding a hairline showing some hair. I want to make your eyes less open. I select one eye then tab Ed and select the second eye as well. Both eyes are selected together. Using the freeform transform tool, I gently push the upper blue note downward. I also adjust the angle a bit. Here is too much, so I pull it back just slightly. That feels more natural. And this is our three quarters angle. In the next video, we learn how to show the head from below and from a top down view. 10. LINEWORK: Now we have four different phases ready. I select all of them, group them, and then flatten the group. So everything is on a single layer. Next, I lower the opacity of that layer and create a new layer above it. I choose a six B pencil from the sketching brush set and I start outlining everything we've done so far. When you work with a pencil or a charcoal brush, the natural texture and noise of these brushes makes the drawing feel more handmade and less polished. We'll use this six B pencil for the first two heads. If you love texture and want a more organic look, a pencil is a great choice for the outline. Here I'm adding strokes to show the shadows on the sides of your nose bridge. Also, try to vary the thickness of your strokes. So for example, here, when I'm drawing the eyelid, the central fragment of this line is thicker than the beginning and the end of the stroke. Feel free to rotate your canvas to make the strokes more comfortable. Whenever two lines meet, that's a good place to press a bit hard. For example, where the line of the iris meets the upper eyelid line, those intersections can be slightly thicker. Moving on to the nostrils, I shade the circular part. But for the thinner areas, I gently lift the pencil from the surface so the line tapers into a soft thin ending. Next, I outline the lips. You don't have to use black for the outline. You can choose a color closer to the lip tone if you prefer. You can also skip outlines entirely. They can look beautiful too and we'll have a separate class dedicated to stylizing your artwork and experimenting with different approaches, including drawing without outlines. For now, though, outlines make things easier by giving us clear boundaries to work within. So so now I'm outlining your eyebrows. Showing some hair. I continue outlining the ears. You can show some details of the ears. Then the hairline and then the cheek bones. For the hairline, you can keep the line very soft and subtle, especially above the forehead. Y. I outlined the first two models using the six B pencil. For the third and fourth models, I switch to the Jasinski pen from the inking brush set. Here again, I use pressure variation to control line thickness, pressing Hazle where lines meet and easing off where they separate. For small details, I use very light pressure by smaller details, I mean any wrinkles like the lower eyelid or nostril wings because those are not deep faults. Also, this line connecting nostrils, I try not to make it too dark. You can also choose brown instead of black for your outlines. This could be a cooler or warmer brown depending on the skin tone. You can even choose a shade that's just slightly darker than the skin, almost blending into it. Now I focus on the eyebrows. I draw the shape, adjust the angle and size. Once I'm happy, I copy paste and flip the eyebrow horizontally. Then I merge the two eyebrow layers together. Next I move on to the head outline. Again, where two lines meet, I press harder. As I move down the face line, I reduce pressure, and then I can press hada where the ear line connects to the face. At that intersection, both face outline and ear outline can be a bit thicker. Those lines can be thicker. The ink brush gives Asap a slightly comic style look. I'm going to use the same approach for the fourth phase as well. Now our faces are ready, and the next lessons we'll move on to rendering the skin and learning how to work with different skin tones. 11. DARK COOL SKIN: Okay. So for each skin tone, we're going to use four colors, a base color for the skin, a shadow color, reds for transitions and highlights. So this is the shadows, how we make those shadows if you pick your own skin tone. As you can see here, we have the medium saturation, more or less medium brightness for the skin tone. This is how everything looks different for the shadows. We have less saturation and higher brightness. When you pick the shadows for the lighter skin tone, you also decrease the saturation, but you also decrease the brightness a bit. You get some gray that is a little bit similar to the skin tone. Now I have my linework layer. And below that, I create a new layer and call it base layer. Then I create another layer above it, tap clipping mask, and name it shadows. This means it's clipped to the base color layer and will only affect the skin area. Next, I create one more clipped layer and call it highlights. You can see those little arrows on the left of the layers. That shows that they are clipped. Finally, I create the last layer I'll need called details. Details. I place it at the very top. I use this layer for anything extra I want to add to the face like makeup, small details or additional highlights. Now let's go to the base color layer and pick out base skin color. I'm using the monoline brush at 100% opacity and I make it a bit smaller so it's more comfortable to use. I outline the shape of the entire head and fill everything in. You can do so by dragging that circle to your head and dropping. After that, I pick a slightly bluish white and color the whites of your eyes. Next, I go back to the outline layer and erase the lines that I don't need anymore. Here I don't need these lines. Then I move to the shadow layer, pick the shadow color, set the opacity to around 20%, and use a medium sized shadow brush. Yeah. I also change the blending mode of the shadow layer to multiply. Then I'm starting to add soft subtle shadows. I define the shape of your nose, add shadows along the eyelids and on the sides of your face. Notice the triangle shape I'm living under your eyes, the one that I'm not coloring, and how I keep the middle of the forehead lighter. Try to think of shadows as bigger shapes, not just individual brush strokes. Just look at the shapes that I'm creating on your face. This is how we start giving structure and definition of volume to your face. I work more freely and confidently on this layer because the shadows are quite light. Whenever you need to add smaller details, just reduce the size of your brush and uh Here, I want to work on her nose. I'm working with a smaller brush defining the shape of her nose. Some shadows in the cupid bowl. You can also use the smudge tool. I'm using the same shadow brush to gently smudge the edges between the light and dark areas, softening the transitions, making everything blend more naturally. Give a mi. Next, I increase the size of my brush and add more shadows on top of what I already have. As you can see, when I draw over the same areas again, the shadows become darker. I focus mostly on the sides of the face and on the deeper areas like the eyelids, anywhere that naturally looks deeper or darker on the face. Make sure that your shadow layer is clipped because of that, none of my brush strokes go outside the skin area. Now I'm increasing the opacity of my brush and add dark shadows under the nose, especially in the crease around the wings of the nostrils. On the eyelids, here we have a fold. I also add a very small amount of shadow in the cupid bow, being careful not to overdo it so it doesn't look like a mustache. Next, I add a bit of shadows inside the ears to show the depth and dimensions. Can add some dark shadows on the sides of the face as well, but be very careful with this. If you use too many dark shadows or make them too large, the face can start to look unnatural as if there were deep holes in the skin. These dark shadows should only be used in small amounts. Then I add shadows on the lips, under the upper lip and under the lower lip to give them volume. So just defining the nose more. Now, pick the third color in our palette, transitional red. Using the same shadow brush at a low opacity, I gently add some blush. I work mostly along the bodics also between light and shadow. Anywhere there is a transition between darker and lighter areas. I'm not pressing hard with my pencil at all. Wherever you see contrast, you can softly introduce a bit of red. I slightly increased the brush size for this. I like it. After that, I pick my shadow color again and add a bit of extra shadows, not too dark between your eyebrows. I just feel like this area lacks some shading. Now I go to the base color layer to work on the lips. I pick just monoline brush and use this transitional red that I have in my palette. I just color everything with that. I feel like this pink is a bit too light. I'm using free hand selection and I select her lips only. Remember that this is base color layer. Then I go to adjustments, hue saturation brightness and I decrease the brightness. You can also play with the hue as well if you want to change the color of your lips. Now I go to the highlights, then I use my shadow brush. And I just add highlights on her nose. Pay attention to the opacity. It's around 20% and medium size brush. I add highlights under her lower eyelid that triangle shaped area that is lit. So I place highlights in areas where there are fewer shadows under your eyebrows, chin, with a narrower brush, I'm adding highlights on her cupid bow, some extra highlights on the tip of her nose, and some stronger highlights on your lips. Finally, I go back to the base color layer to color your eyes. I usually start with a dark tone for the eye color. In this case, a dark brown. I add it on the top, and then I pick a lighter version of that color and add it. So let's say lighter orange like brown. After that, I slightly shift the hue keeping it close and add one more tone for the variation. So you can see the difference. Now I feel like it's too much. I will pick the same colors, but a bit darker. You can see dark at the top of this iris and two similar but slightly different colors next to each other at the bottom. This is how I color the iris on the base layer. Now I'm going to the shadows layer and picking a bluish gray color. I set opacity to 100% and add shadows along your upper eyelid. Next, I pick some dark a pink. Just choose one that feels suitable and draw this pinkish area inside the eyes. I usually add eye highlights on the details layer, but you can also do this on the highlights layer. It really doesn't matter that much. Now, I pick black or dark gray and move to the details layer. I draw the eyeliner first and then the eyelashes. Notice that lashes are more curved and angled closer to the outer corners of the eyes, and they become straighter as you approach the center. I also use the eyeliner to narrow the corners of the eyes a bit, making them sharper, so the eyes don't look too wide open on the side. Choose the brush size depending on whether you want thicker or thinner eye lashes. You can decide what you prefer. Personally, I like to keep just a few lashes. Next, I colour the eyebrows. First, I fill them in with any base color I like. Then using a much smaller brush, I draw individual hairs. I repeat the same process on the other eyebrow. I usually add more hair details closer to the breach of the nose and keep the rest more filled in. But Now, I go back to the shadows layer and pick the transitional red. I add the details to your ears. After that, I move to the highlights layer, pick the color for the highlights and increase the opacity, decrease the brush size, and add strong highlights on your ears and on the wings of your nostrils. That if the highlights feel too bright, you can always select them separately, go to adjustments, hue saturation brightness and decrease the brightness. I also add small highlights near the inner corners of your eyes. At this point, it's helpful to zoom out and look at the face as a whole. I feel like I want to add more shadows. I go to shadows layer and just add extra shadows with my shadow brush, a bit less opacity. And I want to smart the highlights on the highlights layer. Okay, now I'm happy with this phase. Before we start rendering other skin tones, let's select all the layers for this phase and group them together. I'm selecting all of them because this group contains the linework, we'll treat it as our line layer for the next phase. This is going to be a linework. I'm creating a new layer below it for the base color. Above it, we create a clipped layer for shadows just as we did before. And I set it to multiply mode. Then we add another clipped layer for highlights. Changing the mode to screen. Then finally above the line work, we create one more layer for details, and in the next class, we'll render another skin tone. 12. DARK WARM SKIN: Okay. Now we are working with a dark warm skin tone. I start by selecting my shadow brush, then choosing the shadow color. I reduce the opacity to around 25, 30% and use a medium sized brush. Just like in the previous examples, I go to my shadows layer, which is set to multiply and begin adding very subtle shadows. I follow the same processes before making sure to leave highlights in the middle of your forehead, in that triangular area below your eyelids, nose bridge, middle of your chin. And just pay attention to the shape of those areas that are shadow and those ones that are highlighted. You see there's more or less circle on the chin, like ellipse on her forehead, then I'm going to activate the drawing guide. I go to Actions menu, then Canvas, and then activate the drawing guide, then tap Eddie drawing guide. I pick the symmetry and move the vertical line to the center of the face. Now I slightly reduce the brush size and start adding shadows to the sides of her nose, as well as to the upper and lower eyelids. In this case, she has a small bump on her nose. And you can see that the shape of the shadows change. I follow the shape of your nose bridge and make that bump area a bit wider. I continue adding shadows along the sides of your face. When I color on the top of the shadows that I've already made, they become a bit darker. It works in a similar way as markers work a bit. Next, I increase the opacity and reduce the brush size again, continuing to work on the nose and eyelids. I add stronger shadows under her nose, including the triangle shape between her nostrils. I define your lower eyelids, add more shadows to the eyelid fold inside your ears, a bit on the cupid's bow, very subtle under the lower lip, and a bit at the corners of her mouth. Then I deactivate the drawing assist and add shadows under the lips, both under the upper lip and under the lower lip. After that, I pick a bluish gray and add shadows under her upper eyelid line to create more depth in her eyes. Next, I choose a soft, not very saturated pink and color the flesh inside her eyes. You can do that either on the base color layer or on the shadows layer. It's a small detail, so both works. Now I move on to transitional red. It's our third color in the palette and start adding blush. I reduce the brush size and opacity and work along the borders between lighter and darker areas. Wherever there is a visible transition, I add a bit of red on top. If it's too obvious, that red just reduce opacity. I also softly add red into the darker areas, keeping it very light and gentle. Next with a higher opacity and a smaller brush, I place more red into the folds of your eyelids. Then I pick a slightly dark gray and add shadows under her nose and into the creases of the nostrils. That's too strong. Now I go to the outline layer. You might remember that we started with a pencil outline for this sketch, so I erase some of the strokes I made earlier. I I don't want them. After that, I move to the highlights layer. I select my highlight color and using the shadow brush with low opacity, I add highlights to the triangle under your lower eyelid. And then to the nose bridge and the tip of her nose. Okay. Here we have the bump, so I'm showing it. This out edge under the eyebrows is brighter, I'm showing that because it's more prominent. I continue adding highlights under the eyelids on the chin and then on the forehead. If you want to make the eyebrow area more prominent, you can also add a horizontal highlight just above the eyebrows. Finally, I gently smudge the edges so the highlights look soft and more natural. And you can adjust the brush size for the smudge too. H. Next, I go back to my rush and start adding highlights on her cupid's bow and around the inner corners of your eyes. I want these highlights to feel a bit soft and less bright, so I select them, go to adjustments, hue saturation brightness and slightly reduce the brightness. After that, I add highlights to her lips and then some highlights on her ears and on her chin. I also place a few highlights along the sides of your face. Just do this to suggest that light is bouncing back from surrounding environment. This reflected highlights help the face feel more three dimensional and prevent the darker areas from looking flat or too heavy. Finally, I add a few stronger highlights in key areas to bring back contrast and focus, and that's it. This is how we render a dark warm skin tone. 13. LIGHT COOL SKIN: Right now we are working with a light cool skin tone. I'm starting by picking my shadow color and going to the shadows layer. I have my shadow brush selected and it's a medium size brush and I select opacity at around 25, 30%. Just like we did before, I'm adding very subtle shadows to the sides of your forehead to the sides of your face, and also inside the ears. I go to Actions menu, Canvas, activating the drawing guide, and then tab Eddie drawing guide. I'm choosing the symmetry and positioning the vertical line in the center of the face. With the narrower brush, I'm starting to define the shape of the nose, some soft shadows on the lower eyelids, and then shadows along the sides of her nose. As you can see, I'm adding shadows throughout the face, but I'm intentionally leaving some areas untouched. These small triangles under the lower eyelids, the middle of the forehead, the nose bridge, and the center of the chin. Now I'm deactivating the drawing guide, both on the layer and in the menu. Next, I'm going to add darker shadows. I'm focusing on deeper creases and forms. Oh defining the nose bridge more clearly, emphasizing the lower eyelid, adding shadows under the inner part of the eyebrows, inside of the ear, under her lips, cheek bones, jawline, temples Then I decrease the brush size and increase the opacity to 100% and add shadows to your lips. I also notice that on the base layer, some areas of the skin still need color, so I have to fix that. Next using a dark gray, I add shadows under the upper eyelid to your eyes. Now I'm picking my transitional red, which in this case is color pink with a low opacity around 20%, I start by adding blush, and then I softly work along the bodice between light and dark areas of the face, adding a gentle flush. I lower the opacity even more and switch to a bigger brush, working over larger areas to keep everything soft and blended. After that, I go back to my shadow color and add a bit more depth between the eyebrows. If you look at the face from the side, this area is slightly inclined inward. Next, I move to the highlights layer. I just my brush and add highlights to the nose bridge and the tip of your nose. Then adding highlights on your upper eyelids. There's this highlighted area under your eyes forehead, and then chin. With a narrower brush and a higher opacity, I add stronger highlights to the ears and the wings of the nostrils. Then I go back to the shadows layer, pick my shadow color again and choose an even darker shade. I add deeper shadows under the nose and a bit more depth inside the ears. Anywhere you feel like you want to add more shadows, you can just use some daka shade. I go to the base color layer, and I really like the red that we have for the blush and transition. So I'm going to use it to fill in your lips. You can use Jasinski brush for that or monoline brush, just any now I want to show you how a different outline looks on the lips. In a detailed layer, I'm picking this darker red that is in the shadows of her lips and coloring on the top of the outline with Jasinski ink brush. Then after finishing, I'm erasing the lip outline from the layer with the linework. I'm also erasing this middle line and drawing a new middle line in the details layer with a similar darker red. So now I keep working on the details layer that is above all the other layers. I'm adding the eyeliner. Then actually, I want to draw eyelashes that are facing downward. Next, I fill in your eyebrows. So all this is happening on the details layer. I go back to the outline layer and erase the eyebrows that were there before. Then I add highlights to her eyes. And then some highlights on her lips. I go back to the base color layer and add a bit of pink to the inner corners of her eyes. Then I add some pink to her eyes and we are done with this face. This is a light cool skin tone. 14. SKIN LIGHT WARM: Now we are working with a light warm skin tone. First, I want to change her lips. I go to the lips library, choose the lips I want, select them, copy them. Go back to the head, and then I paste and adjust the size to fit the face. I place them slightly lower and once it feels right. Okay, that's perfect. Next, I go to the linework layer and erase the mouse I had before. Then I drag the new lips layer above the linework layer and tap merge down. So they are all on one layer. Let's close the group and go to our base color. As you can see, I already have everything prepared. My base color, I used dark grayish blue at the top and then add two slightly different blue hues at the bottom, just as I did in the previous example. Next, I activate the drawing guide and then tap edit drawing guide. Turn on symmetry placing the vertical line right in the middle of your face. Now I can see that my base color layer is assisted and I need my shadows layer to be assisted because now I'm going to work with the shadows. Now, before starting with shadows, I go to details layer and turn on drawing as it's mirrored as well. I want to draw your eyebrows. Anything I draw is mirrored on both sides. So it's very convenient when you draw eyebrows. Once the eyebrows are done, I turn off the drawing assist for this layer and move back to the shadows layer. On the shadows layer, I pick my shadow color and reduce the opacity to around 20, 25%, choose a medium sized shadow brush and start working. As before, I begin with larger shadow areas, softly shading the sides of the forehead and the sides of the face. You can see this elongated triangle shape along the sides. These are very light, subtle shadows. I add gentle shadows to the lower eyelid. And start shaping the nose. Now I define the nose bridge. In this case, the nose bridge is more prominent, so I use slightly darker shadows and work more confidently. I add shadows around the wings of the nostrils, fill in the small triangle under the nose that we actually used to build the nose. If the nose has any shadows on top plane, you can define them here as well. I add a bit more shadows, again, mostly on the sides using a slightly smaller brush. I add shadows to the ears. Just a touch to the cupets bow. And then I increase the opacity to around 80%. With a narrow brush, I add stronger shadows inside the eyelid folds and along the lower lash line to define the lower eyelids. At this point, I turn off drawing assist. I don't want the dark shadows to be perfectly symmetrical and since the face structure is already clear, I'm not worried about creating strong asymmetry. I add a few stronger shadows in folds and deeper areas, including under the lips. Then I use smudge tool to work on the transitions between light and dark. I soften and stretch the shadows so the brush strokes don't stop abruptly, blending the transitions more naturally. I like how the shadows look nice when you stretch them. The ones, for example, on her lower eyelid, y. With high opacity and a small brush, I add a few extra shadows to define the details inside the ears. Next, I pick my third color, transitional red. In this case, it's a warm red, more like a warm pink or salmon. I lower the opacity and start by adding blush. Then I work along the bodice where the skin tone transitions from darker to lighter. I'm gently introducing some red. If the color feels too strong, simply reduce opacity and don't press too hard. This step adds life and warmth almost like blood under the skin. After that, with higher opacity, I add a bit more red in the darker areas. And Now I move to the highlights layer and pick my highlight color. With around 25% opacity and a smaller brush, I add highlights to the nose bridge, the tip of the nose, the inner corners of the eyes, then we have the cupis bow. You can also lightly smudge these highlights to make them look more natural. I personally like to keep the face relatively simple in fashion drawings. When there are too many details, the face starts to look like a portrait while the body remains more silized and I don't like that contrast. I add soft highlights in that light triangle below the low eyelids and in the center of your forehead. And then use the smudge tool again to blur the edges and soften everything. Finally, I add highlights to the chin and a few subtle reflected highlights along the sides of her face. This soft reflections help balance the lighting and add dimensions. On the base color layer, using the monoline brush and warm red tone, I fill in her lips then I move to the shadows layer. Here you can use the same red for the shadows or you can use the color that we have for the shadows. I'm adding shadows under your upper and lower lips. Next, I go to the highlights layer, pick my highlight color, lower the opacity, and gently add highlights to your lips. I also add a small highlight on the top of the lips. If the highlights feel too bright, I select just the highlights on the lips, go to adjustments, hue saturation brightness and reduce the brightness. After that, I move to the detail layer, pick an off white color and add small highlights to your eyes. Then I return to the base color layer and add a touch of pink inside the eye to make them feel more natural. Finally, I go back to the shadow layer and add a bit of extra shadow under her nose to strengthen the form because the nose is more prominent and it has more shadows underneath. I create a new layer above the details layer because the details layer already contains my previous eyebrows and I want to draw new ones with more details. I choose the Jasinski brush from the inking brush set and pick a darker gray color. Now I start drawing the eyebrows, making them more detailed. You can rotate the canvas if that feels more comfortable. It often makes it easier to control the shape. I mostly fell in the eyebrow shape and then add a bit of texture closer to the breach of the nose. You can add more individual hair details if you like, but I prefer this cleaner filled in look with just a few strokes. Next, I go back to the details layer and erase the eyebrows I drew earlier. I go back to my layer with a new eyebrows. I switch to the eraser using the same Jasinski brush and softly erase along the edges with similar strokes. This helps soften the shape and gives the eyebrows more natural look. You can move back and forth between the brush and the eraser as you refine the shape. To save time, I copy and paste this eyebrow. Flip it horizontally and position it on the left side. After that, I merge the two eyebrow layers, and now I have to erase the old eyebrow on the left, and then I merge the new eyebrows down into the details layer. With that, we are done with the light warm skin tone. You can always take more time to refine the details further if you'd like. But for now, this face is complete. 15. FINAL PROJECT: All right, so you've reached the final step. Congratulations. So here is our final project. You'll have to draw four to six faces on a digital A four paper in Procreate. You can imagine that you have a model agency, and that's your test shots. So draw faces at different angles with different unique facial features and skin tones. Then upload your work to a project gallery. I'm looking forward to see your works. I hope that you enjoy this class, share your questions and suggestions, and see you in the next class.