Mastering contrasts, animal portraits in black and white (digital painting)

1. 1 Introduction: Hello. Welcome to this course, where you can learn how to create a lovely black and white animal portrait. We work through subjects like sketching, blocking in shapes, textures contrasts much more well in order to create a nice workflow with few hiccups and beautiful end results. My name is designates. I've been spending years of drawing and painting. Traditionally, I turned to digital, drawing in early 2000 and 17 and be working for different people and companies. Most of my work has been animal and human portrait related, but lately I also do a lot of creature design. But today I will be your teacher in one of the many ways of how to create a beautiful black and white animal portrait becoming skilled in drawing Portrait's of profitable side hustle , some artists even managed to make it their full time job. You will see that after some practice and displaying them publicly, people will start taking notice and will want one of their own. Drawing in black and white is the foundation of any painting. Many starting artists find themselves at a loss when it comes to picking colors and call interesting and saturating them properly. Starting in black and white, or only working in black and white for a while will take away the issue. Off color situation will lay a solid foundation and understanding of contrasts within any artwork, from landscaping to portrait it's and from technical designs to creature design. By the end of this class, you have a good understanding of how contrasts work and what the true values are within a picture, knowing how to properly translate them within a painting, you will understand what details darkness and lightness will do for your painting and how you can establish your focal point. Using these tools for the score, she can either pick up picture in the reference library of this course or pick one completely of your own. Make sure you pick one that has clear contras and is a sharp image. If the picture of your choice is a full color one, no problem either. Converting them back to black and white is easily done. Let's get started 2. 2 Why we start in greyscale: When we talk about contrasts, we refer to a skill that's named value. The value is everything between black and white within the gray scale, void of any color, which is usually referred to as you to display to common things that are overseen by many. We take this bull as an example. The base colors are already displayed on the site purple, orange and green. We tried to mimic this very thing on the second bowl. Add color, shadow and highlight. It may seem like it's the same, but when we look closely, we see that the colors on the second bull are a bit brighter, which indicates there is something off with a highlight. And the shadow, the highlight is easily discerned is just not too big enough. But we could easily solve that. The shadow is a different story. It seems the lighter as well. It doesn't seem to have the same intensity, not when it should have. But when we draw in color, we need to think of so many things that we may miss out on the obvious. Now some of you may have noticed already, but the shade in the reference herbal has a different you, which is coming for shadows. The contrasts may be right, but the color wasn't something you won't have to worry about when drawing in black and whites. Now we go to the third bull, which is already set up in grey Skill. Did you notice how little difference there is in the contrast between the green and the orange side, Something you may not be able to discern when you're working in color? But starting in? Grayscale already tickled that problem. The same counts for shadows and highlights, coloring the gray scale with an overlay. We don't have to worry about our contrasts cause we already figured them out well. You have to look at its the color. Don't worry, we won't be using this tooling or painting. It's just to display my points. Working in grayscale helps you to get vibrant pictures, both in great skill In color. You will get a better understanding of where light hits and how it displays with different shapes and textures, and you won't be preoccupied with deserting, which you off color is light or dark enough. Compared to another color shaded area for highlights. Not only beginners work this way to get themselves started. Many professional artists work in gray skill every now and then, or have an extra dialogue screen where they can see their colored peas in gray skill. 3. 3 Light and shadow: having an understanding of how light works and therefore contrast works helps a lot in any artwork. We won't go too deep into the details, but having a basic understanding is really helpful for this. We have a quick look at this bowl. For most people, this will be a bull with a color, a shadow and highlights three elements. But in truth there eight going on, allow me to point them out. Shadows are discerned easily. There are only two kinds of shadows. So here we go. First and foremost, we have the base color, also known as the local color. This base color is right in between where the shadow and the light starts, and it's the one and only true color. It shows when no direct light or shadow hits like you see right here. Now this is the core shadow. This is shadow that is always on the dark side of an object just cost. The object itself is in the way off the lights, and right here we have the cost shadow. The cost shadow is costed on another surface bites own presence. This also could be the chin costing a cost shadow on the chest. And here we continue to the lights. Thes are a little bit more complex. Moving to the light. We enter the direct light. This light, depending on the service, tends to be so much diffuse. Going to the white spot right here. This is a highlight. Any surface will show this highlights, but on smooth services that will show better than on for. For example, it will also show better on around servers. Stent on a flat one. Right here we have the room lights. It only shows in places with a backlight. This piece clearly has two light sources, one in the left up someone to the front, causing the direct light in the highlights and one in the back, right behind the bull coasting a room. Lights? No. We have something called a reflective light, this light that bounces off a surface in lights up a shaded area. This is a lot more common than you may think, and its effect gets stronger. The closer this object gets to a surface. It's also clear with this surfaces in the shadow, it's non existent. Where the object hits the ground, it's booking any light, so there is no space to reflect any light. It'll just always remember that reflective light is a very weak lights. It already hit another service before, so any life that's left will be easily engulfed by its surrounding shadows. Off through this, there is one more light one I couldn't display in this video. This is called Ambien Lights. Imean Light is basically a combination of direct light and reflective lines. This kind of light you tend to see in in close spaces, like a cozy bar or a cave a little bit away from a light source. This ambient light bounces away and back again to give a feel like it makes everything glow . The more light source is from different directions. The more ambience the light will be in the area without Derrick lights, for example, a lamp shade is there to prevent life from shining through a room. It's there to create ambient light's light, bounces off the shade under different angles and therefore creates diffused ambient lights . 4. 4 Black and white paintings: it's time to picture first picture. There are some things you need to be aware of when picking a picture for your artwork, especially when it's your first time. You might want to make sure you go for a picture with sharp edges. You need to be able to see every edge with E. So there is little guessing, if any, of what goes where it's appear you see Here is a good example. You have good lighting, really nice shading the edges and all the details. Air clear Despite this being a black and white photo when we moved to this beautiful lion, we still have really nice detail and contrast, but the edges blur out. It's hard to tell where the main start or end. If you're a beginner, you might want to try avoid to avoid this kind of picture. The same counts for my kitty. So now I am. I will be drawing this one through the course, even though she is not only liking edges when I seems to be missing and her nose is completely black. If you know how to draw a nose and eyes properly, and you can deal with the lack of edges. Don't hesitate to use this picture as your reference. No. Here we have three more examples. We have this beautiful elephant. Edges are overall quite clear. Lovely lighting, dark shadows butts. The problem here is Thea. Amount of details. If you're not really experienced, you might want to skip this one for your first portrait. Also in this course, the focus is on affairs and coats. Not really on skin experience. Artists go ahead. Beginners skip. It's the 2nd 1 really nice Ambien picture of a horse, but too few contrasts. You might want to avoid such pictures a little together and finally, this lovely close up off young kit. Details are really good. Only the picture seems a bit hazy. But don't worry. This is easily solved. Go to image adjustments, brightness and contrasts and play with the sittings until you have a satisfying outcome. For this course, it's ideal to go with a picture with a good light source. This can be the sun or simple lights. Having big contrasts makes things a lot easier. The I needs to be trained to see small contrasts properly. This doesn't go overnight, so if you are on a false artists. Pick whatever you like. If you are not, stick with sharp pictures with clear outlines and a lot of contrasts. As I like you to share your picture at the end of this course, keep in mind the following settings. The smallest side of your picture should be 15 centimeters or six inches. You can work bigger depending on what your computer can handle. Set your color mode on RGB, which is the color spectrum for digital documents, as set it on a resolution of 72. This, too, is for sharing the line. If you someday. Once a prince, your artwork, you can always go to see him like a and another resolution, after which is usually 300 d p. I. But especially when you work on a big canvas, say a one resolution of 72 is more than flying. The thing was starting a C M y que and then saving it to a J pick, which is the standard digital form. It is that the colors change significantly to fit the digital profile. That's not something you want found a nice reverence picture. Yet if it happens to be a colored picture, take the following steps. If you use photo shop, most other programs have similar tools. Open the image of photo shop like on image, most great skill and discard color. If pop up shows up, you might want to play a bit officer with the brightness and contrast to make the image book, go to image adjustments, brightness and contrasts. Just don't go overboard. Make sure it's still looks natural after you're done. 5. 5 Sketching and lineart: there are many ways to go about the first sketch. I always encourage anyone to try and draw the pieces free handed us possible. Some have a great eye for shapes and distances, but most need at least some tools to get a nice end result. In this course we're learning. So go with the technique you are most comfortable with, but don't directly drove over the picture. You are not challenging yourself that way and therefore won't improve. Also, when you have customers that want to portray, it's made by you, it won't feel right if you just throw over the picture. Avoid that and trainer I to do the work for you. The first technique is drawn with grid lines. Grid lines will make it easier for you to decide where which line goes at which angle and at which distance from another line or shape. This is a great and most common a way to start practicing. Make sure to always have your reverence piece on display on your screen. You don't always see mine. That's simply because I work with three screens, not just one. Start working on a new layer. Don't drill right on top of the background. This gives trouble later on in the progress and remember to stay lose. We don't need details yet. Just the basic shapes to display are good line. We go to view show grit. You may discover that there are too many or too few grits. You don't want things to be a scattered is minor. To change the settings we go to edit preferences, guides, grits and slices. This opens a new dialogue screen where you can change the distance off your grits. You might even want to change the color of the lines so we can have a better look at them where we draw what he opened a new screen. You will secret lines as well. This is because it's a personal setting within photo show to remove the lines again, just go to view, show grits and they will be gone. You may want to use the same size of campus for this method else. You're good lines will be off if your reference picture is a lot smaller than the campus for your painting, size your picture up to the same size of your art campus and just some out after. If you find your brush stepping onto the grid lines go too few. Step two none. And the problem will be solved. I made a quick sketch. Normally I take some more time for to avoid mistakes. So should you take all the time you need, but for displaying our next step are needed to have some mistakes. So here we go. When we finish our sketch, we do one more step. We want to double check if everything is really in place. We do this because we're drawing so most pet very una que animal. For that person, having something out of place will be noticed the right away. The owner may not be able to point out what's wrong, but the peace will feel off. This is of course, no issue when you draw wildlife, for example. But when it comes to pets, we really wants to double check, take your picture and put it right under the layer of your sketch and have both on display . You might want to play a bit with the color of your sketch lines to make them more visible . Now you check if every aspect of your sketches right where it should be if it iss Congratulations. You have quite a talent. If not, don't worry. You are not the only one, but don't go cheating and drove over it. Remember, you want to learn? I want to sell an original artwork. The way I usually go about it is simply creating some horizontal and vertical lines on top of my sketch, effectively creating a grid around the coric place where, for example, and I needs to be, I copy and paste the I I drove before, right within that great if that's the correct shapes, or I raised the eye and start all over within the grid. When you're done doing that, old were ready to move on and create a nice Leinart. If you want to be a bigger challenge, and this is a technique I usually use, you can make your own movable lines on top. Off the reference piece, try and find lines and edges, which meet that lying both vertically and horizontally. That way you know where to start or in certain shapes. We draw a line and rugged over her head, and we see that the upper side over I on the left meets the lower side of the eye on their rights. Going down a bit more. We see that the lower side over left eye meets the ride top off her nose on the right and so on. Do this both ways. It might help to put the reference picture above your artwork when you work vertically and on the side when you work horizontally, if you have the space to do that. Line artists made on a new layer and used to refine the first sketch, which is usually quite screamingly. Some people make lovely sketches. I well, my little nephew could have drawn this, but that's fine in this stage. When you start with your Leinart, you go over the already existing lines because many of us will work with furry animals, Try and keep an eye off on the shape off the body. Later on, we want for in hair to stick out on the sites, draw on Lee the solid pieces in your Leinart and don't include areas that's both hair and background and don't draw every patch of hair on its own. We just want a basic shape toe work from nothing fancy ends. We get to that later. If you make a mistake. All is not lost. Don't worry. We can remove or fadeout apart later. As we will continue working on our details in other layers. Make sure all ends off your lines. Meet. This will make things a lot easier in the next step. And there we are. What do you think of my global hairless fireable with the double chin? 6. 6 Blocking in the shapes: Our next step is to create a new layer. We do this directly under our line arts. We can remove the first sketch now, so you can either put it on a visible or remove it entirely. That's up to you. There are a few artists sell their that tends to paint on just one and the same layer. A good example of one of thes artists is Mark Obuchi. Painting like that gives a really organic natural feel. You would paint the same way on a traditional canvas with real pains, but photo shop and other digital programs being the way they are. I vouch for working with layers. This makes many things a lot easier, especially when in the future you want to work with different kinds of effects on just one part of the painting you made. Just don't go overboard with your layer. She will get to a point where you don't know what what's what layer anymore. So be mindful about that now. We created our new layer. We go back to our Leinart grip or magic, want to and select the outside of our Leinart. You will see a nice line around your Leinart often refer to as walking ends. The's walk against shouldn't be inside your Leinart, but if it iss remove this election you made, go back into your Leinart and make sure there are no more gaps on the outside of your Leinart and do the same again. Ready? Okay, flick on. Select an inverse and there you go. The inner alliance off the outer shapes off your Leinart are now selected, leaving you with a nice shape to work with. Keep your selection and click on the new layer you made earlier. Grab a nice shade. This should be a shape that's in between the highlighted areas and the shadow areas. This color is also known as local color, like we discuss before. If you work on a dark animal like my cat with heavily contrasted image, he wants to go a little bit lighter than black. The same counts for a really white animal go a bit more gray. The reason we do this is because nothing is ever truly black or whites. If you want to draw in through black and white, that's fine. But don't do it if you're a beginner, staying a bit in the grace will give you a bit leeway. Another reason why you should never starting through black and wife and it's closely intertwined with our previous reason is because you want to build up our contrasts. The local color is a color without shadows and without light hitting it. If you start really dark or really liked, you can only work towards one side of that skill, so make sure you pick a color that's grayish but seemingly black or whites. If you are a beginner, you may want to pick a nice shade with the eyedropper tool. If you have some experience already, just grab a sheet. You think it's correct and use your heart brush to color in the selection you made earlier on your Leinart. And there we go. We have our first shape looked in. We continue working on blocking in. Some more shapes with a portrait like this are usually only blocking the nose in the eyes because thes two needs some extra attention. Well, the other things can be done on their own layers. If you are doing another kind of animal, you may wants to Putin teeth, hooves, horns and so on. On its own layer basically things that have a really different texture. But for this one, we won't be blocking it anymore shapes from now on. The reason why we're blocking shapes is because we don't have to worry about drawing outside the lines like this. We put a layer on top, link it to already existing one with old click on the line in between and drawing into the second connected layer. It won't go over the edges. This technique is really nice if you draw on animal with many sharp edges, one that's not really furry like, for example, a horse or a dog with a really flat coats. Kits are usually a bit more fluffy, but you can still start off this way. Most animals have some sharp edges, if only the ears, and it will give you a nice direction. Later on in your painting, Will we start working on the for 7. 7 Background: and off we go to her big round. The background is just that. The background. We want her attention to be with the animal we will be drawing. Creating a background is therefore less is more. We don't want it to be sharp. We just wanted to add a nice detail to what's already there. I tend to start early with my background for several reasons. It helps to support your drawing. You can play with contrasts off your animal a bit more easily compared to the background. If you put in the background on the end, you may have to touch up a lot on your animal to make things work. Officer role There are a lot of contrast in details on your animal. The other reason is that the default campuses, usually whites white, is a very right color. It's tense to tire your eyes quickly. It's also very rare to find something that's truly white in nature. Also, the brighter shade, the more attention it will get. So we just don't really wonder bigger and to be plain white fix during can be done. In many ways, the easiest way is to simply years of texture. Brush and draw your textures on your background and then used this much to or go to filter , blur Gaussian blur to take away some off the sharp edges and therefore focus from your background. If you use these textures on the floor, make sure it's in the right perspective. You can do this by drawing the texture on a flat square and pull it in perspective. Author Lucky See later. Just remember to make sure you want your focus to be on your animal. Any details on your floor should be sharper around the animal than anywhere else and should also get more blurry to worse. The bank, the issues. The way to achieve this on the floor is by using this much tool coast. You can be selective about where you want the blur to be aware. Not another way to texture your canvases by using a texture picture like you see here. Pick a nice picture with a texture you like. Put it on the place you wanted to be. Pull it in perspective and then start playing with the layers. See what gives the wondered effects off through that you can always blur, were needed and play with the contrast and image adjustments, brightness and contrast. You might even want to play around with the opacity of the layer. Just continue until you're happy. 8. 8 Getting started on your animal: those that have been drawing for a while and got some texture. Pecks from different places will recognize the main brush I use. This one can be found in many different texture. Pecs, but you can use any somewhat rough brush for this course. Don't worry too much about it. I will use some other brushes on the way, but most of them are centered brushes from photo shop. Yes, you don't need much brushes to create an animal portrait. You get the best textures by practice. I like having the flow on about 50%. This brush is a quite course one setting. The flow of 50% softens it a bit, making it ideal for fear. My smoothing right here is on 10%. This is a standard setting in most of my paintings, smoothing roads off cornice U turn when you draw a consistent line. As drawing tablets tend to be very sensitive and its service quite smooth, it's hard to draw smooth lines without scribbles or dancing them. You noticed this mostly when you try to rise or want to draw a long, smooth, sharp lines like fork. Simple whiskers using smoothing on about 10% will make up for that problem. Okay, now we know this little bit of theory. Let's get started. You put a layer on top of the shape we made earlier and connected to the shape by using holds. Right. Click on the line between the two layers notes that your Leinart is still on top off thistle. We want to keep on seeing where the nose eyes pause and so on are by keeping the Leinart on top. That's no problem. It'll at first we want to establish where the different shades are. I'm not talking about light and shadow yet. I'm just talking about different local colors, like the wives and on the chest and post of this kitty. To make things easier for myself, I start drawing in these shapes on top off the first blocks in shape we made earlier. I do this with a soft brush on a small size I once the edges to be smooth, because when I start layering the for on tough, I want a clear indication of where the edges are. But I do not want sharp edges to peek through later on. In the painting, the base layer being a base layer may unintentionally shine through later. This is no problem at all. As long as you keep soft edges, it's in fact, a good thing. It will help you to say losing your painting as you don't need to cover every little spot with more details. If you do things properly, it creates a nice contrast throughout your painting, something you will find out in a little when you were done drawing these shapes. Go ahead, grab the reference picture again, and now put it on top off your drawing. Your drawing is no longer translucent, so you will needs to put the picture on top. Put the capacity off your reference picture down as much as you need and check of the shapes are right. If not, do like we did before with the I incorrect the shapes, after which you put your reverence picture on a visible again within your artwork. Keep a second reference picture on the site, though you will need it all the way through. First and foremost, take note off the flow off the shapes. This doesn't only mean the shapes of the Paul or a near this also means to flow off the for . It's this flow we follow when we draw our animal. If you have a picture of an animal, which this is hard to see, seek out another picture of the same species where you can have a look at areas you are uncertain about. Let's get drilling. 9. 9 Shadows: The only true way to discern the shape of something is by looking at the contrasts where it is the light hits, Where does he should have flow? These details will tell you what the shape of an object or, in this case, animal ease. We are getting started with a new layer. This time we don't connect it to her previous layer. We want to start drawing first, so we want to be able to go outside the lines. If you are doing an animal with the flat goats, pay a bit more attention to the edges. You may want to erase some places after where you went a bit overboard. Going a bit over. The answer is no problem. It'll, though, just make sure the code flows nicely into each other on the edges and you're just fine. If you are still bothered with hard edges, just go back to your base layer with a blocking shape on. Blur out the edges a bit by raising them slightly away just a little bit, so you can still clearly see the shape but with soft edges. And now we can start with the fun part. I usually start withdrawing shadows. It doesn't really matter if you start with highlights or shadows, but starting with shadows feels more natural to me. Simply cause shadow. It's always integrated, just like local coders are the's we implemented in the beginning Off our base layer lights and highlights aren't always integrated. You need a clear life source like a light bulb or direct sun lights to be able to create ice contrasts. Heading the bright lights after is just a cherry on the top, and all of a sudden comes to life. And I really enjoy this experience. Out of precaution. I always put the shadows on a different layer from the lights in the highlights. If there are any hiccups, it's easy to change the Contras and all these layers on their own when starting with the shades that pay close attention to all the shapes of the animal. While also keeping in mind the flow off the for our I Issa's much on the Reference Bees, as it is on the drawing, were making, and just like before with the first sketches, we keep distances between patches of light and dark for in mind, playing with shadows and highlights. It's a bit more forgiving than the sketch in line art. But one shadow or highlight on the wrong place can make you end up with the crooked leg or jaw. So always stay mindful when drawing. It may look like something's come natural for artists, but in truth they just learned how to pay close attention to everything they do, making it a second nature. Even when one is born talented, they still have a lot to learn. Just start layering darkness on top of each other, starting with a somewhat darker shade, and drove on top of that and even darker one and so on until you get the shade you need. This way you can create a beautiful transition between the lighter and darker areas. Been drawing with black and wife. You don't actually need to pick different shades of Cray. You can use the pressure since deputy off your tablet or sit Europe s ity on. For example, 50%. If your tablets or brush doesn't support pressure sensitivity this way, you can nicely blend dark and light together. Keep sharp edges in mind, though. If you look at this verbal, you see that there's a sharp edge on the left side of her nose, where the dark edge off the nose goes into the brighter cheek. You don't want different shades to blend and slowly from there. If there is a sharp edge, draw a sharp edge. It helps to work with a smaller brush ice on places like thes. As you can see, I tends to move from place to place changing brush sizes. It's a bit of a balancing act. When one thing takes form, another seems out of shape. See, there's a puzzle. Every piece that's to the final piece. Keep an eye out and you will be fine. And remember, you can use grits if you feel more comfortable doing that. Also remember that the shadows will be placed under the highlights. Therefore, it's flying to draw a bit outside the shed Alliance. If it directly meets up with any light areas, these will be on top anyway, so corrections can be done when you're in that layer. If you, for example, have an area that goes a lot from dark to light and dark to life like for that's layered. Remember, it's the darkness in the for causing dent. It's okay to make this whole area darker. You will create the layers later on by being spare some with the lights and creating hard and soft edges were necessary. If you happen to have trouble discerning levels and badges, there is a way around that's go to filter fielder gallery and cut outs. This will break up the different values within your piece, used as much or as fuel levels. Issue need. As this process takes a couple of hours for me to complete, I will fast forward to shading to our next face. The lights in the highlights have a look at the video and how it's shades take shape and policies video so you can work on the shading on your own speed and see you back in a little, uh. 10. 10 Lights and highlights: Welcome back. How did that go? Are you satisfied with your painting? So far, it's time to make the magic happen. When we talk about lights, we talk about the places where the light hits. It's a bit lighter than the local color butts. Nothing extreme. Highlights are a different thing. They tend to be near white. You see them mostly around the edges, where sunlight can shine from behind and on the side through the fluffy Tufts of fair. This is known as REM lights. On other places, you can find them where the sun directly hits the surface opposed to the I and, of course, are very shiny for surfaces. This is the I, sometimes the nose nails, teeth or whose? And sometimes the coat. If you picked an animal with a very healthy and clean codes, as we already know, there is also something called a reflective light. This is a light that bounces off a service to hit another one. For example, the light hits the floor and then bounce suspect on the other side of her animal. This isn't clearly the case with my reference picture, but it might be on your so keep that in mind. Now we begin on a new layer. Mind you lights and highlights are a bit more tricky. That's why we will work on the highlights later, where light hits is more detail. We could practice before on shadows, and now we will start to tickle the lights just like the shadows. We start off with the milder lights in the artwork, working our way towards brighter lights. Remember, we will put the highlights and yet another layer so safe those for later where shadows were a bit more forgiving. We know want to pay attention to the fact that in some cases we can see every single hair in specifically the highlights. Don't go draw each of them. You might be surprised to know there is an easier solution, just slightly reduced the size of your brush. After you're done, the first rough layer don't make new layers in the screen on the bottom. Just stay in the same layer, layering the actual fair. They reduce it again to a tiny size for the third time. And look at that. You made a nice texture. The hair looks believable and that's enough for no. If you want to add any more detail than this weekend, either ed in the fourth later. But we wait till the ends where we will do some finishing touches now. Some tips and tricks. We have self transitions from dark to light, something you see when you look at the base off for layer, you can either carefully layer of the different shapes on top of each other for pretty, a bit more rough and after you're done, erased thes edges. You want to be soft. With a soft brush like that, you get a really nice and even transition. On the other hand, with the brightest edges, these tend to be Harris that stick out. Therefore, you will see the edges clearly the's you don't wants to smooth. Rather do like before hearing them up to have different life thicknesses and let the smallest size stick out of its be spare some with this effects when you're further away from your focal points. When I drove the lights or try to avoid drawing in Rose. When you look from a distance, you may notice them, which is a shame. Just be a bit random, somewhat drawing in circles following the flow off the fairer and you'll have the best results. No, just focus on the fur and the code like before. I will fost forward this video and leave you to pitch up again. Don't worry. Take all the time you need and catch you later, okay? 11. 11 The nose and the eyes: Yes, it's time for the nose in the eyes. Click on the layer with the nose and eyes on it. Add a new layer on top of that with holes and click on the bar in between. And let's get started, depending on the picture you choose to draw. It's quite easy, like the nostrils off a horse. But that of a dog off a cat, if with much detail, is a bit harder. The shapes are hard to grasp, even when you did a proper sketch, so drawing a nose can require a lot of focus. As this kid, he doesn't really have a lot contrast on her nose. I show a short process video off the nose from the dog on one of her reference pieces, as you can see a play a bit with the texter brushes. The first you see me using is a lot like the one I usually use just a bit smoother. But I quickly referred back to my course main brush. So how can you tell that the noses, wit and over two completely different texture Well, that's again not only in the texture, it's mostly the way contrast is distributed. Look at the difference between dark and light on the nose itself. Transitions between the two are quite sharp, much unlike the for so there are many lights in many darks, but few medium grace. And where you change the way you put the shades on your canvas, you've got yourself a nice little nose on the code. We tend to work with long strokes, which indicates hair or the nose. We barely use any strokes at all, which creates in smoother area, and that with almost similar brushes to make a better transition between the nose and the surrounding area, you might want to extend the base layer bits with the really smooth edges. Don't erase the nose. Just extend the areas around the nose and slightly erased thes edges. Then, at any fur or skin that's in the transition and blended together with the fur layer as good as you can. This means you may have to shift the bit between these two layers until you have a satisfying outcome and a seamless transition. Then we move through the eyes. Why? To challenge no Well, no. It's actually quite easy to create the eyes. It's a few simple steps with a lot of layers. First we go into the layer we made earlier when we started working on the details of the nose, and we add a nice gray tone similar to the local color of the I. So again the gray, which isn't affected by light or shadow within the I. If you are drawing a dog or a cats B a bit bold and at a tiny bit of texture on the eyes, you can easily do that, but picking a slightly lighter or darker color and click on the I once or twice with the rough brush you are using. There we go. Next we put a layer on top with olds left click, and we drove the pupil with a standard heart Photoshopped brush. Play around a bit with its position and see how it affects the direction your animal is looking. Put it in the right place. Or just if the animal look into a completely different direction, that's up to you. Now We go to the third step, adding shadows. You make yet again a new layer. We pick a near black shade and a soft brush Really important. This is just the basic Photoshopped rush, and we carefully add a dark layer above the I and around the corners, giving it to feel like it's a bull right into that socket. Don't make a show on the bottom. Only the upper edge and the further scorchers off the I no step for adding highlights again on its own layer. I tends to use a soft brush for this, the same I used for my shadows. But I click on the same spot several times to make the etch a bit sharper. But a heart brush will do the trick to depending on your reference picture, you add one or more dots I like using, too, the bigger and a smaller one. The's highlights can have different places, depending on where the light is coming from. This is usually from above and often slightly to the site. Keep in mind where the light on the for hits and you will be fine. Step five. This one is a big, more technical click on this book's Next through the Brush and select color Dodge ed. This will take away countries wherever it draws. We used a local color of the eye and softly with a soft brush and carefully layering on top of each other, following the shape off the eye on the bottom, we create a place where direct light hits on the I, and there we go. We have a lovely believable. I just like the nose to go back to the main layer and make sure the island's properly within the socket if it doesn't already and at a wet line under the eye. Maybe some more details. If your reference picture has more details on, if you need Teoh, you may want to blend the edges obits. In that last case, you may need the details around the eye on another layer on top and unconnected to the I layers like you see me do later and they're sure, I know, repeat the same on the other side of needed. I chose to add an eye on their right as well as I wanted to improve the picture I already had and didn't really fancy an empty socket. After you're done with both eyes and they both look into the same direction, you go back to the layer with a local color off the eyes. What shit This technique doesn't work on all animals. Ah, horse, for example, isn't ideal for the following steps, but a cat, really is the local color of the eyes on the layer behind the pupil. Grab a color that slightly darker or lighter than the local color, but a lot lighter than pupil and surround the pupil with this color. Then we Grubbers much tool with a soft brush with the pointy edge, and we pull lines from dark into light and light into the dark of the eye, creating a nice, realistic effect. And there you go, your animal just came to life. 12. 12 Finishing touches: sit back and reveal your artwork. Maybe take a little break. Go which movie? Have a shower, have a walker. Go cook something. When you focused on your work for a long period of time, you start missing out on obvious things. So taking a break every now and then is a good thing to do. If you don't have the time for a small break, just flip your campus horizontally. This wilder fisher brain and may help you spot any potential problems in your artwork. Does everything look okay? Okay, here we go. We add a new layer solely for extra details on this layer. You may wants to add things like the whiskers, some extra details to for maybe some highlights or darker areas. Be spare someone with detail ing the fear, though. Keep the details around your focal point. Like we said before, if you are drawing a portrait like my cats, you may want to save her. Details for the head only are simply significantly less and other body parts. Also, when your animal is sitting on the ground, make sure you at a cost shadow, keep the light source and it's angling mind and create your shadow opposed to it. If you make a portrait of only the head, you want to focus most of your extra details around the eyes, nose and mouth and maybe a tuft of fur mein. If it happens to frame your focal point nicely, the whole idea behind this layers to add interest in reality, we've been using relatively coarse and soft brushes throughout your whole piece. So now it's time to grab a hard brush and at thes extra details, and it's usually don't go overboard. Less is always more. Your piece is basically already finished, so any detail edit have to complement what's already there. I shouldn't be adding much more contrast unless you really feel that's necessary. Knows how I'm playing around with the different layers, removing the highlight layer, putting it back, removing the light layer. And finally I came to the conclusion I like a little bit less light a little bit more because I kept my layer separate. I could easily remove a bit of the lights without actually damaging anything. Just a few seconds, and I'm done. Nice work around when you noticed there are some things not entirely into place. It's the liquefy, too, like you see me doing here. To do this, you need to emerge all your layers to move everything in the whole. Remember that, author, This adjustment you won't be able to set it back two layers without undoing all your edits in liquefy. Either go with it or save your layered, hardworking A mother document with a different name. No time ending somewhere, shed us to the eye and flecked detailed Harris on the nose and brought it up the whiskers. With these few adjustments mostly focused around the head, I pull the attention, writes to her face. Just with gone trust and details, I always encourage anyone to test around a bit. Sometimes you don't see something is wrong until you play around. If you're unsure, just save your artwork and open it again, then starts playing around. If this doesn't feel right, you can always go back to your old version. Simply don't save the new one lost , but not least so your artwork. You can do this by hand every time again, where you can modify some sort of signature or logo, especially for your work. Like I did allow it to be there, but don't make it pop. If people are interested in the work, they will seek out this information anyways. If you want to reduce the chance that people steal your artwork online, put your signature or logo in a place where it's for his own Tole or vertically seen into your artwork. That way, they conscious Cut it off. 13. 13 Final thoughts: congratulations. You've finished the score successfully, who went through how contracts work and what kind of light source and shadows exist. We learned how we measure the proportions, make sketches and line ours. So we started working on sculpting or animal into a realistic looking art piece, using different strokes, creating your own textures and contrasts. Don't forget that most of the videos are filled in time. Lips. My very first piece took me about 10 hours to finish. Nowadays, I take between 4 to 6 hours and complete a full painting. So don't be fooled by the speed of the video. In this course, take your time. Practice makes progress. It doesn't make perfect. You always want to keep a beginner's mind. That way you will always be open to learning. Remember that if you really want to achieve something, you will get there. You just have to be persistent. Keep practicing and always keep learning. And if you have any trouble with any stage within your art piece or art career, don't hesitate to us for help. You will be surprised how helpful people are in this branch. That being said, don't forget to share your artwork. I air Classmates will love to see your end results. Let us know what you thought was the easiest thing and the hardest thing to do. Let me know what other things you would like to learn or what you think I should go a bit more into depth about. And of course, don't forget to let me know what you think over this course. Overall, I may be your teacher, but I too can learn a lot of things along the way. When you share your artwork. Also, share your reference peace if its license or you're not sure if it is just placed link to the original piece. Thank you so much for joining me on this course and happy drawing.