How to Draw and Shade this portrait

1. INTRO: Hi, I'm psychosis. I am both French and British, and I have 16 years of experience as an illustrator and animator. In this class, we are going to draw and shade a character's face like this one. You will learn how to start with a sketch. Clean up the lines at flat colors, add some shading, some lighting, and even some effects. This class is suitable for intermediate artists who have a knowledge of a drawing application such as Photoshop. Those skills are useful for character illustration, but also character designs and many assets for your own projects. Once you have follow this class, I would love to see you use this method. Draw a portrait of your arm. So let's get started. 2. Setting Up: Welcome to my class. We'll start with setting up a document in Photoshop. So first I need to create a file. So I'm going for 1500 pixels wide and 2000 pixels high. Then I need to pick a brush. I'm going to use very simple brushes throughout this tutorial. This one is simple hard brush with opacity and flow to 100 percent. So here I'm going to make sure those are clicked. The flow in the opacity to 100 percent saying for this button here, it's better if it's clicked. So choose a brush size that works for you. Again, there's no rule here. 3. Sketching: Great. We have set things up. Now we can begin sketching. Let's start. So I always start with the face, the shape of the head. Obviously it's an oval, slightly flat on the signs. I draw two lines, one for the middle of the face and one for the side of the face where the ears go through. I draw a horizontal line across the face to place the eyes. Just a small indication for where the nose could go. So I'm placing the math about the third app from the chin. And then third up. You'll find that the nose and then the middle of the face. So it's like 1 third, 1 third, 1 third. You don't have to apply this rule, whatever works for you. I'm going to give this character a little bit of a smile. So I'm going to push the line slightly up here in the corner. I pay particular attention to the line that connects the eyebrows and the nose. So this line here, you will see that it's quite important for the face to work, to keep that in mind. Even if afterwards you might erase it. Just placing the air. This line here just beneath the year is actually the line that defines the jaw. So to start right at the bottom of the year. Now placing the eyes. So I draw a line for the top of the eyelid. So this is what this line is. Now I'm placing the eyebrows are more like drawing the shape of the arcade. So that's why I draw a line that goes back to the eye right here. But this line might be afterwards. And again, I'm paying attention to that line that connects the eyebrow and the lows. Now I'm placing the neck, which is about half the size of the head, roughly, maybe a little more, and it's slightly off-center because the head is turned. So I'm placing the soldiers now, they're at an angle to give a better expression to the character. So one shoulder forward and with a slight angle to give it the style. The line I just drew here. This is for the bones here. And they form like a little straight line. So it's, it's useful to place down. I'm just adding this little chain. So it says it's time to define a little bit of the shape of the face. Again, that's up to you. And I have decided to make her look sideways again just to give the pose above dynamism. So it's not just a still pose as looking bright sideways. Just reinforcing the lines here and land is to make sure I've got the right shape. As me trying to place the hairline. Again. We can place it wherever you want. But this is the usual sapiens I go for. So drawing the air coming out of the side of the face. These fluid few lines is all I usually draw at all. One to detail the PS2 image. So I'll keep them simple like this and that's enough for me. So now I'm going to flip the canvas horizontally, just using this flip house until button there in Photoshop. Flips the Canvas, canvas just just the previous of the Canvas day that gives you this mirror effect that allows you to see if there are any issues, outstanding issues we face in with your sketch. I'm going to draw. This has tile is from one of the characters have created, is called dawn. This is like a semi-log. I'm running a firm line here to make it look a bit more feminine. Maybe if you have a very square jaw line, you might look more like a man. So now I'm going to tackle the eyelashes. And I've got my own way of doing this now. Just watch. As you can see, they're quite thick, so I'm I'm giving businesses the thickness of the island, eyelashes, some already giving it working the thickness of it around the eye. Placing the pupil, placing the shape of the eyebrows. So again, this is the typical eyebrow shape, diag O4. But feel free to draw any kind of shape you want. So that little hope next to them. And the lips is typical Bill thing that makes the face look a bit fuller. It's quite pleasant on, on a, on a feminine face. So I'm trying to make trying to make sure that she looks like she's smiling. Sometimes I use this tool called Liquify to fix the join query quickly. So this farm going to do here. So now I'm defining the muscles in the leg and animal. Because the head is turned after a pause on those muscles on the leg and it gives them some definitions. That's why I'm trying to get here. 4. Clean up and Details: Time to clean up and add some details. So we're going to add some details to this. Clean up the drawing a little bit. So the first thing I'm going to do is increase the size of that little sketch fits nicely into the frame. Next thing I want to do is to make these lines quite thin. And then on top of this I'm going to create a new layer, two new lines. So this lamb is unknown. This layer is on multiplier as well. I'm using the same versus before. Just a thinner, thinner brush or thinner relatively to the drawing. And as I go along, I will add some details to the lines. So you see I'm adding these details as I go along. I'm trying to add some details to the eyebrows, adding some lines. So I'd like you to pay attention to them. Says, Hey, I'm trying to draw the Al-Qaeda and the shape of the Al-Qaeda. It's a straight line down, but it's nice to have this subtle shape just to emphasize this lines here then doing. And I don't want to end when the abrupt line. I want to just suggest that there's some folding of the scales and colors. 5. Flat Colors: Next, we will lay down some flat colors. Let me show you. Okay, so now what I wanna do is to add some colors to this character. I've just removed the old lines and I'm going to create a new layer. I'm going to call these colors. And these colors are going to be flat. So I'm starting with the shade of the skin. I'm looking for red, slightly orange color and desaturated towards the white. So this is the color, the central chi, this is how desaturated towards the white. So this time I'm, I'm looking for I brushed I is hard and without any sensitivity to flow and capacity. So the first step is to actually fill in using the paint bucket. So I have highlighted this button here. By clicking this, you will, even though I'm on this layer, it will consider lines and stop at the lines even though the lines on a different layer. So if you click this in and use the bucket, you can start filling in the college really quickly and then you'll have to fix the details. I'm choosing a color for the hair. I'm going to go for dark brown. For the eyes. I choose a slightly off-white color to yellow, orange car. And now for the iris, I'm going to go for a greenish color. Now I'm just going to hand paint all the gaps I can find. Sometimes I go over the line just to make sure that I don't live in blanks. I can remove them the lines just to make sure that I'm an afternoon. No blank serum then I would be it could be annoying for the dam line. I want to add yet another layer for the colors. This time is to bring some colors to the cheeks and to her lips. So I'm just going to use one layer with the red color. At first. I will put that color really strongly in if you want to learn now and make the layer transparent, fade out a little bit. I use, I'm going to link those two layers together. So you can link those two layers by pressing down the old key and clicking between the two layers. And now when you click the links, those two layers and every layer that's going to be above and LinkedIn the same way. We'll never paint outside of the color area. And this is how it looks. This little layer is slightly shifted to the right and this little arrow appears. And that indicates that this layer will not paint outside the bottom layer. So I'll start with the hard brush for the lips. So that's very quick. Him and I will switch to a soft brush to add some rosy cheeks to that character. So I'm just showing you the settings quite quickly here. We've got the opacity and flow switched on. But also this one, the flow is only a 5%. Hey, go once I've done this, just make the layer transparent so that I just until I'm happy with the way it looks, that's all. Finally, I'm going to add one more color layer this time because I want to add to give us some eye shadow. This is for just to see how we could do it for the things. You could also add a gradient, say for the hair, for the clothes you can, you can play around with colors down. Same process. I'm using the full blue color and then I will turn it down afterwards. 6. Shading: Now we can get started with the shading. Let's continue. So now it's time for some shading, just creating a new layer. I'm going to use a hard brush as well. This layer will be multiply as well. And I'm going to paint just with a simple black brush and turn the layer transparency to about 50 percent or 30 percent. And I'll just keep going. So I'm doing some hard shadows right now, pal soften some of those later on. I think it's good to have a pronounced shadow underneath the chin helps give the feeling that the chain is actually exist because it moves forward quite a bit and it's a hard shadow, long shadow underneath. So the light is coming from quite front onto the counter. So there's navies much shadowing to be done. But if the light was coming from a side, for example, we could have half the character in the shade. I've just turned to tone down the shadows a little bit so it's more transparent. And then now I'm adding a little bit of shade in the eyes libraries just underneath the eyelids. It makes the eyes a bit more interesting and final with a bit more depth. And also on the iris run these areas, I'm gonna do the same on either side. I use this tunnel swell to add some details. I added a tiny bit of shadow here in the corner of the mouth just to enhance the sense that she's smiling again. And I'd like to also add a little bit of shadow just to need the mouth here it is helps bring the lip out a little bit. Now I'm going to try to soften some of these shadows a little pay. And for this, I'll be using this tool. And you can just brush over the edges of the shadows and it makes them Sterling blurry. And here we go just in a few little places like here, like here. It just keeps the softness to the character. 7. Lighting: This time we will add some lighting on we go. And I'm going to create another layer for for the lighting of the face. So Donna shading now, the lighting. It's going to be a similar idea. This time however, the light folder is going to be screen mode. Instead of multiply, I'm going to use as simply the white to lighten the face. And I'm going to do most of it with a soft brush. So again, a very soft brush and similar settings as before with this 5% floor area. So before I go on, I'm going to add another layer, black layer this time, just to darken the colors so I can see the light pattern. So I'm just going to make everything a bit dark so that the light stands out. Now I can see the light of the banner. So here what I'll do is first I draw very soft with this very soft brush, and then I removed with a hard brush, just using the rubber to remove the excess. So it's good to star in a certain order with part of the body that are further at the back and move towards the bottom parts of the body that further the front finite easier to manage. So those lights may look bit harsh right now. But again later we'll turn, will turn the transparency up so that the layer is less strong. So now I'm going to the face is quite important. I always start with this V shape. And I draw from here to here is fisheye from Cheek to chin to cheek. And then I carve into this soft shading. So for example here now removing the shading from the eyes slightly underneath the eye to give the sense that there's a little bit of an eyelid underneath. I will remove completely the lips because the lips, in this case the quietest, quite shiny. So imagine now that she has color glossy lipstick. So there's no much diffusion, there's more specularity to it. So in this case I just completely remove it. I also carve out the nose. Just light is just a tip and nice depending on how big the nurses you can make it bigger. And then I go back to it again, soften the edges of these. So once I'm happy with that, I just remove a little bit because she's smiling again. I went down here and we move the reverse shading here. We have light. So I carved in it makes the cheek look like she's smiling. Now got this particular part of the eyes that is folded and often brings back some of the light. So it's good to add some details like this. So I use a much smaller brush, but it's still soft brush. And I increase the size my brush, brush as I go along and try to join Tonia with the rest of the shading. So you may notice dark solve leave that little line here quite marked. And our shows. So the separation between the cheek and the nose and a very soft brush for the forehead. And it's only need. You can highlight those parts of the eye as well. It's quite a nice touch. Another place where there's a beautiful detail often that comes out is the edges of the nose. So it's nice to bring in a little bit of detail here. So I'm bringing back a little bit of light removed before, but just softly on the lips, on the nose, on the eyes. And finally, I just turn down the transparency a little bit so that we don't want the light to be too harsh. 8. Highlights: Okay, time to add some highlights. Let's go. Okay, so this one is bad and highlights, I want to have to add another layer of light. And at this time is for the, the parts are sparkly in the face like in the eyes or the hair. So let's go. Again. I'm choosing the the first brush that I used at the beginning, which is a hard brush but Hayes pressure sensitive in terms transparency. So typically I'm starting here with the lips and you can go very bright with the colors and have a string of random little dots. So I'm placing the highlight layer actually on top of the line. So right at the top of the malleus here. So that way you can go over the black lines. So just adding different spots on the eyes too, to give the sense of that the eyes are alive. And I'm adding this little line as well, just underneath here and here to give a bit of depth to the iris. You can also add a little bit subtle highlights there on the top of the upper lip and highlights there on the eye, on the islets. It, it gives a sense of the eyes again acquire life. So for the hand, I do this, I just draw a large stroke and then I'll use that tool again, the thing that tool to, to display some to give it a bit of texture. Just push up and down randomly like this. 9. Backlight: Next, we will add some backlight. Let me show you. So this time I want to add some backlight to the characters. So that means a light that comes from the back. Here. I'm just adding another layer for to make the background PyTorch. So it was perfect white. Now I'm just adding this extra black layer and putting a given case, some transparencies and I mix a green background. So the rim light is going to be just like the other light is going to be made of white. And it's going to be on screen as screen layers adds the light to the rest of the layers. I'm using a hard brush here and just going around the edge. I'm trying to think about the shape. So a good way to think about is that the larger the object, the larger the rim lights should be. And again, I totally turn it down a little bit. It's not pure white. And then you can, you can use whatever works for you. But this gives a nice feeding, defines the shape of the data. 10. Color the Light: Now we can give those likes some extra color. Let's continue. Now. I want to give the light some color. So I'm actually choosing the dark and layer here. And I'm choosing instead of black, I'm going to make a dark place. So don't give the whole character slight blue tinge. And then I want to light the light on the face to be a warm orange reddish color. And I will give the character some colors and the scenes and colors. So you can see already the blue is blending with the color of the skin and giving a sofa up properly tinge. So now I'm changing the color of the light. So I chose the light layer here. And I'm turning, turning down the blue. And then I'm also going to turn the green, turned green down a little bit. So that makes the whole lion serving white. It will be slightly orange and I'll create, make the lights slightly warm. So you can see already is changing. And I find it now a little bit dark, so I'm going to bring it back up a little bit. Then I'm going to do the same for the other light layer. The highlights. Turn down the blade and the green. Now I'm going to do something else, different filler, the backlight, the backlight is white as well, but I'm going to make a blue to balance the tricolor. So we've got a contrast between a warm color on the face and the blue color in the background. So this time instead of turning down a blue or turn down the red, and also turn on a green a little bit. And now I can bring it back up if I want to base based on your taste. So I turned the highlights to a Linear Dodge transparency. It just brings the light even more extreme. Now, I want to just add some shades and gradient in the background just to keep the background depth it's B flat the moment. So I'm just going to add a couple of layers. First, the first one's going to be a basic reagents. If whites towards transparency, again, you can do whatever you want with that. I decided to have create and going from the top like this, so bright at the top and darker the bottom, I guess the feeding and some light coming from the top. The top. Then I'm giving you a Beverly. Tend to swell because the background think there's a light, backlight comes from background is also blue. The gradients that was white from the top. Now I'm giving you a red tint. So now we've got this gradient from red to blue again. So often hot to cold. 11. Effects: Finally, we're nearly done. Let's add some effects to make this real pop. Let's do this. So this is the final step where we're going to add some effects to the character to make it look a bit more interesting. So the first thing I'm doing here is creating a gradient. So the gradient is going to come on top of everything, is going to be again, a gradient from hot to cold. So I'm going to choose on one side and orange, and on the other side I'm going to choose blue. And I'm going to make it transparent in the middle so that it isn't changed the color in the middle of the picture, but just on the edges. And I'm going to put this on screen on top. So it's like a light layer of light that's added to the rest of the drawing. So you see I've correct from orange to blue and transparent in the middle. I put it on an angle. And now I put it to screen. And males that just blends those colors nice nicely. It gives a sense of warm light on the top here, and the blue lights code lines at the bottom. I could have done this on two different layers to be honest. But in this particular case we could do on one. The next thing I want to do is to add some particles floating in the atmosphere. I do like thy gifts. Again, some depth to the picture. It makes it pop. So let's, let's try this. So I'm just creating a new layer. I'm going to use white again. And I'm going to use the sketch brush here, which is a normal heart brush. But again with pressure sensitivity for opacity and flow. So I'm choosing a very large brush and pressing very lightly so that it remains transparent. And the more I press, the bigger the circle is. And I want to do different sizes of circles and just put them in a little bit randomly as if particles floating around the character. Now I'm changing the size of the brush and adding some tiny ones. Tiny ones can be a bit brighter. Add some magic to the picture. Finally, because this is the end, we're going to bring back the colors a little bit. I love to do this right at the end of the picture. I just add the simple layer. It's a hue and saturation layer. And I bring up the saturation TBI 30 percent. And I'm just makes the color, the colors pop. And here you have it. But I hope you enjoyed that. 12. Conclusion and Project: Congratulations on completing this course. I hope you have learned a single two about drawing and shading. So again, I invite you to create a portrait of yarn. You can add your work down here in the project section, where I can give you some feedback. I look forward to seeing your work and I'll see you at the next lesson.