Paint Realistic Watercolor Portraits Like a Pro: Master Proportions, Skin Tones & Expression

1. About The Class: I dreaming of painting realistic watercolour portraits, but don't know where to start? In this beginner friendly class, I will guide you through all the essential art school basics. You need to draw and paint lifelike faces with confidence. Hi, my name is Alexandrina, and I'm a watercolor artist based in Poland. I will be your guide through this artistic journey. I will share my knowledge from the art school and numerous portrait classes I took over the years to make the process of painting portraits simple for you. We'll begin by breaking down the structure of the face in the frontal view and learning the key proportions. Next, we'll explore mixing natural skin tones with watercolors step by step. We'll also practice painting facial features separately, eyes, lips, and hair so that by the time you start the class projects, you feel confident with each technique. This class includes two full portrait projects, one with a straight on portrait and another with portrait in three quarter view and emotions. Now, let's dive into the creative journey. I can't wait to see you in the class. 2. Art Materials: Let me show you the materials I will use. I will start with the most important one watercolor paper. I will use cellulose paper for little sketches like eyes and lips. This is a glued pad, so I don't have to worry about paper got warped because of water. Quite cheap one and perfect for practicing with watercolor. Min project, I will paint on 100% cotton paper, Kansan moulin duroy called pressed texture. This is a four format, and it's one of my favorite paper. It's more expensive, but the quality is really great. I recommend you to use cotton paper for your portrait because it really affects the result. Will use two main brushes by Fu Mui. It's natural round brushes, number 12 and number eight. They are actually travel brushes. It's not important for our project, but it's just useful. If you have these brushes, you can always take them with you on the trip. You can order these brushes with 10% discount with my personal code in the description. I will also use two additional brushes, one also by fu Moi. It's a mop. Brush number eight. It's very good for covering big areas with water or with color. And also, I will need a small brush, number two, silver brush, black velvet. I'm using ceramic palettes. It's perfect for mixing color, but if you have plastic ones, it's okay, or you can even use just ordinary plate or something like that. I have also ceramic palettes for the colors because I'm using watercolors in tubes and also I'm using watercolors in pens. And I have this watercolor set. And actually, it comes with this plastic palette that you can also use if you have this plastic palette in your watercolor set. For the watercouring pans, I suggest to use water in spray to rewet them before painting. I have two glasses of water. One I'm using for cleaning my brush, and another with clean water, I use to cover the paper before painting. I also have kneadable eraser. It's an eraser that helps to carefully remove the pencil lines from the paper without damaging it and ordinary eraser as well. I use a mechanic pencil pentel with 0.3 millimeter lid and a softness of H B or B. Okay, I guess that's it. The most important things. And now we can move to discuss watercolors. So main four colors you will need it's paints gray, yellow, Oca, Alizarin crimson and lavender, while also some blue shade cerulean blue. These colors are most important ones, but I will use also some other shades. I just love using these colors for mixing skin tone, Sepia coral reef zinc white for the final details as well. Also Jean Brilliant by PVC is a very nice shade for painting skin tone. You don't have these particular colors, you can replace them with the colors that you have in your palette by other brands. In the next lesson, I will show you color watches for all the colors I will use. One thing I almost forgot it's paper towels. It's very important to have them to dry your brush or sometimes even create the highlights. It's very useful. Now you one step closer to the main class project and the main portrait we are going to create. Let's move forward to next lessons. 3. Skin Tone Color Mixes: Let me show you main color swatches and color mixes I use for painting skin tone. First color I always use for painting skin tone is yellow Oca. It's essential color in any limited palette for painting basically anything. Next color is Jan Brillian and it has white pigment inside. Next one is a new color by Daniel Smith, which is called Coral Reef. It's more pinkish and it also has white pigmentt inside, and it's quite similar to the color I love to use before. It's Red Brilliant number two. You can check names of the colors I mentioned and links to the products in the attached file to the class resources. Here is Jean Brilliant number two, I mentioned before by PBC. If you don't have this color, it's easy to mix it with a azarin crimson, yellow oca and zinc white. And our next stop is a lazarin crimson. It's one of my favorite red pigments, especially for painting the skin tone. Next one is a perfect warm red shade, which called Venetian red. This color is by white knights, but also it's very similar to the moda brown by Schminke. There are three main colors that make perfect skin tone, the yellow shade, red shade, and blue shade, as in the color circle. This class I will use erleanblue chromium by Daniel Smith, but you can replace it with other color like cerulean blue, by Vang. And let me show you the difference on the paper in the swatches because cerulean blue by Daniel Smith, it's a bit more granulating and cerulean blue by Vang, just pure, but more bright blue color. Another color I love to use for mixing skin tone is Lavender. I'm using Lavender by Daniel Smith, but you can also use lavender from other brands. Now we are moving to the dark colors that help to create a dark skin tone or a color mix for painting shadows on skin. The first color is hepe. The next one is pains gray, and it's also essential color for any limiter palette, and you basically can mix hepe from pains gray, azarin crimson and yellow Ocha. The last one is purple color that I will use for mixing the shadows for the skin. I use just ordinary color white knights. Now let's move to the color mix and explore how we can mix skin tone. First and my favorite color mix is A lazarin crimson, yellow ca, and lavender. This creates a very nice, neutral skin tone for the light skin. Next color mix that you can use, it's yellow oka, a lazarin crimson, and cerulan blue. We can use just yellow oka and a lazarin crimson because the color will be just orange, so we need to mute it down with some blue shade, like purple lavender or cerulean blue. If you see that the color is too dirty, you can just add once again yellow Oca sarin crimson until the color will get the shade you want. This color can go more dark than the previous one, so it's good for mixing the shadows for the skin tone or a dark skin color. You can also control the intensity of the color by adding more or less water to the color mix. Now let's explore the color mix for the shadows. I'm using Venetian red by white knights, yape brown, and violet. It's basically the same colors as I used for the lighter skin tone, but just one shade daca. These colors, by the way, will be also perfect for creating the color for the hair. I can use coral reef, cerulean blue and yellow aka for mixing the color for the pale skin. Try to experiment with the colors you have on your palette. I haven't show you the color mixes with Jan Brill number two, but it's also similar to color mixes with coral reef. So I will use all of these colors. And basically, if you have just yellow oka, red shade, and blue shade, that's enough. If you want to learn more about color mixing, you can join my other class on color mixing. 4. Inspiration: In my portrait journey, I've taken several classes from other artists to keep growing and improving my skills. I'd love to share with you some of the portraits I've created over the years and the amazing artists who have inspired me along the way. These portraits were painted during a class on fashion portraits by the Belarusian artist Nika. Beautiful portrait class on Skillshare by Hazel Carsa which helped me better understand light. The amazing thing is that after the class, you get inspired to create something of your own. This portrait, for example, you can find in my free tutorials on my YouTube channel. Another portrait artist that inspires me is Jane Bilata who has class on Skillshare that I'm going to take. Sol Barris is another artist that I took class from, and I really enjoyed her technique. Rabia Ava is another artist that has a very unique style and inspires me a lot. To be good at painting, you have to practice a lot. Practice matters the most. When I look at my earlier works, I can really see the progress and it motivates me to keep going. Little by little, painting after painting, you will become more confident with watercolor. It just takes time and some practice. Share your favorite artists in the discussion under this class, and let's move to the next lessons. 5. Face Proportions: In this lesson, we will explore proportions of the face. To begin, mark the top point of the head and the bottom point for the chin line. Measure the halfway point. This will be the eyeline. Next, move slightly down from the top point. This will be the foreheadline. Now we will work only with the facial area between the forehead line and the chin line. Divide this section into three equal parts. These lines mark the positions of the eyebrows and the tip of the nose. Then divide the bottom third in half. This will be the lip line. If we draw a line along the upper edge of the eyes, we'll get the top line of the ears. The line from the tip of the nose marks the bottom of the ears, ear lobes. If we draw lines from the inner corners of the eyes, we'll find the width of the nose, and if we draw lines from the inner edge of the iris, they will indicate the corners of the mouth. Also the line from the inner corners of the eyes upward will roughly mark the inner starting points of the eyebrows. The distance between the eyes is equal to the width of one eye. The distance from the out corners of the eyes to the sides of the face is slightly less than one eye width. Of course, all the faces are different. So after we build up these proportions, we can check how particular face differs from these proportions. 6. Hair Texture: In this lesson, we will explore how to make a brush strokes for the hair texture using bigger brush and smaller brush. Prepare your art materials, and let's get started. First, let me show you the things I have on my table. I have two glasses of water. I have more brush and small brush and also two round brushes, middle size. I have watercolors in pans and also watercolors in tubes. You can use either of them. I always have a cup of tea because I'm a tea addict and I have ceramic palettes. I will prepare some brownish comic using yellow cha, maybe a little bit of orange just because I have it on my palette right now and will add ape to darken this carmix. I'm using brush number 12 by fumoi from natural squirrel hair. This brush is more flexible and it holds a lot of water and pigment. Let me start with one thing I see often in the projects of my students. When you want to make a smooth and straight line, make sure that you have enough water on your brush. So if you press your brush and make the brush stroke and the edge looks like this, it probably means that you don't have enough water because if I press my brush and I have enough water, the edge will be very smooth. You see how the color ends up in some corners of this spot, and it looks darken. So you can also use it for your advantage while painting the hair. Also with even big brush like a half number 12, I can make these very thin brush strokes using the tip of the brush, and I can also drag the color around and apply some more color in some wet areas of this wet spot to increase, for example, the shiny texture of the hair. I now the most impressive brush technique that I use for painting the hair, first, we need to create a wet spot, and then I'm pressing the brush on the palette and twisting it around. So the brush would have a very separate hair. With brush like that, I can drag some color from the wet spot and create very thin and quite chaotic lines. Also, I can use this technique without any wet spot just with brush with color on it. I hold my brush vertically, and I just move it around creating wavy shapes, and you can see that the texture is very interesting. I use this brush for creating also grass texture for painting grass in landscapes. And if you joined my landscape classes, you already know this technique. Take your time to practice because even for me, sometimes it's a bit hard and I have to. I have to practice before I apply these brush strokes on the final painting. Also, I can use mix of this twisted brush and very thin lines with the brush number two using the very tip of the brush. It also takes some practice to control your brush stroke and to make a consistent and wavy line. You can change from the thin line to the more fat line by pressing the brush in some areas and creating more bold brush stroke. The twisted brush technique can be hard to make with the synthetic brushes, so try to get a natural one or imitation of natural hair, for example, the smaller brush silver brush black velvet, it's imitation, but it behaves very similar to natural squirrel brush. You can also practice in painting the eyelashes with a smaller brush by making a one thin line and then drag the color from it, creating the thin lines for the eyelashes. Don't forget about perspective, so the lines won't be straight. They will be curved around the eye. 7. Eyes Sketch: Let's start with a sketch of the eye. First, I draw a horizontal line that will be the main line for the eyes, and I'm measuring three equal parts. So if you remember, the area between the eyes equals to one width of the eye. I'm measuring this distance using just my fingers and pencil as a unit. Remember that in all of our sketches, we press the pencil very lightly because we don't want to leave any hard pencil marks on the paper. I start sketching curved line for the upper pot of the eye. At this stage of the sketch, I can analyze on the reference the comparison between inner corners of the eyes and out corners of the eyes. All eyes are unique and we need to understand is the inner corner lower than the outer corner or not, for example. It also depends on the position of the head and how we see the eyes. I'm sketching a lower eyelid. And now I'm drawing the upper eyelid. This shape is also very unique and you need to understand where the angles are, how wide it is, and try to repeat the shape that you can see on the reference. I can draw the parallel lines from the inner corners of the eyes, and that's where the inner corners of the eyebrows will be. Sometimes the eyebrows go a bit closer to each other than this area. But for now, we are just sketching it as the skin I see that on the reference, the eyebrows are a bit closer to each other than just from inner corners of the eye so I can draw some hair of the eyebrows closer to the center. There are normally shadow parts going downwards from the eyebrow and on the sides of the eyes, creating the area for the nose. And now I'm sketching the iris. Iris will be a round shape and a bit covered with the upper eyelid. Basically, you can just draw a round shape and then remove the line that goes on the upper eyelid. I'm sketching the pupils and there are always highlights in them, not always, but normally they appear to be white little spots, and I also like to place them at the stage of the sketch, so I won't forget to leave this area white. And also, I'm sketching the eyelashes, placing them around the eye because the eye has round shape, so the eyelashes will be curved around this shape. I can also sketch very lightly the areas I need to make darker or lighter. For example, the area under the e will be darker and this area under eyebrows will be light. So I will have to keep it in mind when I'm painting with wet on wet. Now I want to sketch some eyelashes at the lower eyelid, and they also go around, and my sketch is done, and I will see you in the next part where we will prepare the color mixes. 8. Eyes Color Mixes: Now I want to prepare everything I need for the painting. I always have paper towels next to me eraser, ordinary eraser, two glasses of water. Before I start painting, I also want to use water spray on my watercolors in pens to rewet them and to get them ready for the painting. And now I'm placing the colors that I need from the tubes on the palette. Get comfortable, prepare your favorite beverage, and let's get started. Base color for the skin tone is always yellow Ochre, at least for my color mixes and my technique. So I'm placing a lot of color on the palette, using quite a lot of water because you can see that now the color is pretty dense. And now I will just create the color mix and will later add some more water. Apply some more zarine crimson to this color mix, and now it looks pretty orange, and I need to mute it down using lavender. If you don't have lavender, you can just use cerulean blue or any other blue shade. I also add a little bit of Jan Brilliant because it also has this cold white shade. I add colors little by little, and if I can see that the color is too cold, I can again, add some red shade and yellow shade until it will get the shade I need. And now I can just swatch a little bit of color on the paper. You can use just scrap paper because sometimes the color appears on the palette a bit different than it will appear on the paper. So it's better to check it before you painting. Now I'm mixing erlean blue, Alizarin crimson and yellow Oca, creating some more dark shade for the shadows on the skin. Now, I want to make some more warm shade for the under eye area. I'm picking up some orange color mixing with yellow ocha, a little bit of lavender. And a little bit of Jan Brilliant. I can also add a bit of Venetian red shade. A little bit of sepia to darken the shade and it's done. I clean my brush, and that's why I have two glasses of water. One is a bit muddy and another one is transparent, just pure water. Before we move to painting, I'm using needable eraser and remove the strong pencil lines, leaving a hint as a guideline for my future painting. 9. Painting Eyes: Let's start painting. I load my brush with a light color mix for the skin tone, and I cover the whole area around the ice with this very light mix. I use quite a lot of water. And since I'm painting on cellulose paper, it will get dry pretty fast, so I have to work fast. Using brush number 12, quite a big brush with natural squirrel hair. You can find a link to this brush in the description of the class or in the touched file with my favorite art materials. I dry my brush, and I remove the color from the lightest areas under the eyebrows and in the middle of the nose and also in the middle of the upper eyelids, where the highlight is. Uh I clean my brush and I load it with a little bit of dark skin tone, mixing it on the palette with the lighter one, creating some middle color tone. And I apply this color under the eyebrows, and I start building up the color for the shadows which are under the eyes and above the eyes. But I keep the area of the upper eyelid unpainted light. I want to apply some more cool shade next to the nose, so I add some lavender to the color mix of the skin tone, and I apply this color while the surface is still wet. I can also paint some areas of the eyebrows with this color. So Now, I will load my brush with a bit more warm shade for the under ice area. This is too dark, so I will mix it a little bit with lavender and yellow cha. And if I want to make this color a bit lighter, I can also place it on the palette where the light skin tone is. I apply this color around the outer corners of the eyes. Now I will mix some zarine crimson, yellow oche and cerulean bloom to create some more intense dark mix for the skin tone. Maybe a little bit of champrillne to make it lighter, and I will apply it in the corners under the eyebrows. Now, I renew my mix of orange, venetian red, and a little bit of lavender to continue working on the outer corners. In some areas, I can drag the color to the upper eyelid to avoid this rough edge of the shadow. I switched to my brush number eight. It's also natural brush. So it's very flexible and it's easy to remove the color from the paper or to drag the color around. Now I'm placing the cerulean blue to a little bit of the color that left on the palette creating this gray shade, very light one, and I started painting the inside of the eye, the white area of the eye, which is not white. As we know that we cannot leave any white areas. So we have to paint it with even a very light color. I'm mostly placing this color into the upper pot, where the shadow on the eye is from the upper eyelid. And also outer corners will be slightly darken. I'm trying to keep this mix very transparent and light and maybe even clean the brush and drag it with just pure water. In the inner corners of the eye, I will apply some reddish shade, leaving some white spot for the highlight. It mixes with the blue shade already applied and creates this muted purple shade. I apply some clean water to make the edges not so rough and just to blur them. And now I can apply even more red shade. Now, I switch to even smaller brush number two to paint the iris, and I'm mixing just more blue shade, more intense blue with the same core mixes. If you don't have color mixes on the palette, you can just mix it with a little bit of yellow oca and a little bit of lazarin crimson, but keeping the blue majority in this car mix. I applied the color around to the iris, and then I can just clean my brush and drag the color around to create lighter area in the middle of the iris and apply some more blue shade on the edges because normally the eye will look darker on the edge and lighter in the middle. Now I mixing paints gray and cerulean blue and apply this darker shade at the upper part of the iris. Don't forget to keep the highlight in the eye in the pupil to be precise white. I can paint some vertical lines from the pupil to the bottom part of the iris, creating the texture of the eye. And now I can apply dark black color into the pupils and let the color blend with this blue shade. So we won't see any rough edges on this pupil area. I'm placing some of the pin's green color to the palette to the red shades that I have because normally we don't use pure black color, and I draw, paint the eyeline, a very thin line, and the uperpot. For now, it will be like this, and then we will come back to this area. Now I'm mixing some yellow oka azarin crimson, lavender, maybe a little bit of cerulean blue. I'm just using the colors I have on the palette. It helps to create more unite image. Now I will create a dark color mix for painting the shadows. I'm using Venetian red, sepia, and a little bit of purple to create darker shade. I can place this color on the palette to the existing color mixes if I see that it's too dark. And I will use this color mix to paint the area above the upper eyelid to highlight this line that shows the upper eyelid. No And we don't like rough edges, as you can guess already. So I'm cleaning my brush and using more water. I drag the color around to create this shadow under the eyebrow. I can use the color mix with cerulean blue, more coal shade, and drag the color towards the nose. Now I can also increase the shadow under the ice because it's quite dark, as we can see. And also, I will need some more orange shade because it appears to be quite warm. When I'm painting, I'm trying to mix the colors on the palette. It helps to create more natural shade and not just pure orange or pure red or blue color. So it helps to create more muted shades. And now I want to add some color into the inner and outer corners of the eyes. So I mixing the colors on the palette again, and I apply this color to the corners of the eyes. The inner corner will be darker than the out corner, so I will have to maybe blur the edge of these areas. 10. Painting Eyes Part 2: We continue working on the other eye using the same steps. First, I will apply dark color to create the line for the upper eyelid. And then I will just blur this line into the shadow under the eyebrow. And then I will move to painting the under eye area. When I'm painting the under eye area, I keep in mind that the dark area will be next to the light one. So basically, I'm painting the dark area right under the eye, then will be slightly lighter area that I keep unpainted or almost unpainted. And then I again apply the dark color. I can apply dark color mix once again to the area of the upper eyelid to increase this contrast. I add some more purple shade to the color mix of Phoenician red and yep, and I will use this dark brownish color to paint the eyebrows. But it's better to not use just one color, so I will add some more orange and more erlean blue maybe to this color mix. And I create the brush strokes imitating the hair on the eyebrows, just like we learned in the lesson with hair texture. I'm holding my brush almost vertically and doing very light and thin brush strokes. I can add some paints gray to the color mix and apply some dark shade while the area is still wet closer to the inner corner of the eyebrow. Now I'm mixing some purple shade, using a zarine crimson, cerulean blue, and mixing with colors that are on my palette. And I want to apply this color into the corners of the eyes because it's also quite dark part. But I will have to drag this color with clean water to create more smooth edge. Now I move to painting the other eyebrow, and by the way, we can use not only small brush, but also a twisted, big brush. I'm using brush number eight, and I press it on the palette and twist it with the colour. It also helps to create this very random and quite thin hair to the eyebrows. And again, I can apply some paints gray to the color mix already have on the palette and create some dark shade. Using this color, I will come back to painting the eyelashes, maybe with a little bit more paint gray in it. I will repeat painting the eyeline. And then from this line, I will drag the eyelashes out. And they are not straight. They grow around the eye, so we have to repeat its shape. So the eyelashes in the center will be almost vertical, and then they will go around the eye like sphere. And with this color a little bit lighter, I can darken the edge of the iris, because normally, as I told you, it's quite dark and darker than the iris. And I can also drag some of the lines from the pupil to the edge, highlighting the texture of the eye. I also applied some pure paints gray color to the pupil and area below the eyelashes at the top of the iris because it's the darkest part of the iris. And I will do the same with another eye Now, I will use slightly lighter mix, mix of paints gray venetian red, and I will paint the lower eyelashes. They are shorter and there are less of them. So I'm just trying to add them in some places. In some eyes, you can't even see them, so you have to analyze your reference. And now using light mix of lavender and some skin tone and a lot of water, I want to create some more smooth transitions between the dark areas and the light areas because now they are look quite artificial. So using big brush, I'm just applying this light layer of the color. And our eyes are done. I will see you in the next lesson. 11. Lips Color Mixing : In this lesson, we will draw a sketch for the lips, and I start by drawing a horizontal line. It's the middle of the lips. Then I'm sketching the upper lip, trying to recreate the shape that I see on the reference. I also place in the middle line, so the lips would be symmetrical. I'm drawing the curved line for the upper lip. This reference, I can see a little bit of the teeth between two lips, so I'm sketching it. While we are working on the sketch, we can also analyze reference in terms of color values. So I'm trying to understand where are the darkest areas and where the lightest are. I see that there are highlights in the middle of the lower lip that is very visible. And also, there are some highlights around the cupid's bow and above the upper lip. Now, my sketch is almost done. I want to remove unnecessary pencil lines that I don't need. And I can also sketch a cupid's bow and the area for the shadow below the lips. I can also sketch some lines to show the texture of the lips. Don't forget about perspective and that the shape of the lips are curved, so you need to make these lines not straight but also curved. Once my sketch is done, I will use kneadable eraser and remove the strong pencil lines just keeping the guidance of the lines that I can see but make them as transparent as possible. Now let's prepare the color mixes we will use. First, I'm mixing the skin tone using yellow oka, Azarin crimson and lavender. I need a very light tone and pretty neutral. So it shouldn't be orange or pinkish. It should be very neutral. So if I add more Azarin crimson, I need to mute it down with yellow oka and lavender. Okay. And try it out on the paper. You can use just some scrap paper. Now I want to prepare a color mix for the lips. I'm using a lasering crimson, yellow cha. And also, I can add some venetian red to make it more warm. In another puddle, I want to prepare a light mix for the lips. So I'm using already mixed color, this red shade, and I add some lavender and water to it to make it pale pink. I also want to make a color mix for dark areas on the skin. So I'm using this red shade that I mixed for the lips. I add some shape, lazune crimson and a little bit of purple or lavender. So basically for the dark skin tone, I just use more chape instead of yellow oche and I use a little less water than in the light color mix for the skin tone where color mixes are done, and now let's move to painting. But 12. Painting Lips: Et's start painting the lips. I'm using the skin tone, and I cover the area around the lips with a very transparent mix of yellow, oca, azarin crimson, and a little bit of lavender. I use a lot of water, and I move my brush very consistently with a big wash. Right now I'm painting on lllose paper, so the paper will get dry pretty fast. While the area is still wet, it's good time to make highlights. I clean my brush dried on the paper towel and making my brush very flat, and I remove some of the color above the upper lip. Now, I use slightly dark color mix for the skin tone and apply this color to the cupid's bow in the corners of the mouth and under the lower lip. And now using the color mix for the lips, I start by covering the upper lip with this light mix. I let the color travel in some places to the skin tone if it's possible. And I leave some very thin white area of the highlight above between the skin tone and the lip color. I can apply some more color to the corners of the mouth because it's the darkest area. And also, I can reapply some more dark color to the cupid's bow while the paper is still wet. Now we continue working on the upper lip, keeping the light area in the middle. I drag some color around. And also, I try to recreate the texture of the lip. I switch to the smaller brush number two, dry on the paper towel and lift some color creating the highlights and also around the cupid's bow. I add some more dark color to the bottom part of the upper lip. I keep some areas unpainted, especially in the middle of the lips to create the highlight. I mix some more dark shade using Venetian red and a little bit of orange, creating more opaque color. Now, using the first light pinkish color mix of lazuen creams and a little bit of lavender, I paint the lower lip. And I also remember that in the middle will be the light area, and at the corners of the lips will be the darker areas. But first, I need to cover the whole lip with this light color. Now I can use mix of zarin crimson and Venetian red and apply it on the top part of the lower lip. Venetian red is actually very nice warm color that also can be used for color mixes. Now I will prepare a dark mix of shape Venetian red and purple. Using this color, I will paint the area between tulips and below the teeth. We will darken this area later, but now I can just apply the first layer. I can apply the same color in the corners because they will be also quite dark and I will switch to the brush number two. I add some more Venetian red to the color mix, and I will use this more dark color and create this dark line between the upper lip and the teeth, highlighting the contrast between them. I add some more purple shade to the palette and mixing this color with a little bit of yellow ka and the colors left on the palette. Using this color mix, I will paint the area under the lower lip. There is normally quite dark shadow, so we can apply this darker color and also use this color for the cupid's bow. Now, I want to paint the area below the teeth, the darkest area in this painting, and I will mix paints gray with some red shades that are left on my palette because normally it's better to not use pure black color. And I carefully paint this area around the teeth. I will use this color to paint the area above the teeth between teeth and upper lip. I will use this color and darken the shadow below the lips. Can't leave white areas in our painting, so I mix in a little bit of lavender and cerulean blue with a little bit of colors that are left on the palette creating this light grayish shade. And I paint the teeth with this light color. We can create some vertical lines on the teeth to show the texture as well. Now I can increase the texture on the lower lip. I place Venetian red again on the palette and add a little bit of pink gray, creating darker shade, and I'm creating these very thin lines on the lower lip. Mm And our lips are done. I hope that you enjoyed painting them and you feel excited about painting the portrait. 13. Class Project Sketch: Now when you already know the basics of the portrait sketching, we can move to our main class project and paint the portrait with watercolm. And I will start by building a sketch. I'm placing the highest and lowest point of the head, leaving some more space at the bottom for the neck and the jacket. Then I'm drawing a vertical line in the middle. Now using my pencil, I'm measuring equal parts and drawing a line in the middle of the head. That's our main line for the eyes. I already drew a line for the forehead. It's a bit lower than the highest point of our head. And now I'm starting to draw the oval shape of the face, trying slightly to repeat the shape that I see on the reference and also trying to remember that this oval shape will be wider at the upper part than at the bottom where the chin is. The model on the reference photo has a very specific jaw line with sharp corners, and I'm trying to repeat it. I measure equal parts where these corners will be from both sides of our main vertical line. It will help me to create more symmetric shape and oval of the face. From now on, we will measure all the parts of the face, eyes, nose, and lips based on the height of the face. So not from the highest point where our head is, but from the highest point, where is the forehead. And now I'm trying to measure three equal parts, and I'm marking these lines from the bottom of the chin to the top of the forehead. Now I'm splitting the bottom part in half and right in the middle, there will be the line of the lips, the middle line of the lips. Now our main lines are done, and I'm moving to trying to measure the distance for the eyes. And you remember that the area between eyes will be equal to the width of one eye. At this point, I'm trying to analyze the particular shape of the eye of this person. This is what will help me to make this portrait look more similar to the original photograph. I'm sketching the corners of the eyes and the lower eyelid. Inner corners of the eyes always will have dark areas, leaning to red shade and also a very light highlight. So I'm splitting this area in a few pieces. I'm sketching the iris right in the middle of the eye, and I can see that my eye on the right, I will call him that. It's a bit bigger and I'm trying to correct the shape. And about iris, it should be a round shape, and we don't see the upper part because of the upper eyelid, but it still should be very round. Now I move to draw a upper eyelid, and I'm also trying to repeat the shape that I can see on the reference. I'm drawing pupils right in the middle, and they should be at the same place in both eyes. So you can even draw a line to check their parallel placement. Now, I will sketch the eyelid margin where the eyelashes grow, and I repeat the shape around the eye, so it's not a straight lines, but it's curved ones, like we explored in the lesson where I painted the eye. Now, I can move to drawing the eyebrows, and it's very important to repeat the shape that I can see on the reference with the same curve. And I can see that the model has a pretty big eyebrows, and the outer corner of the eyebrow goes very high. So it's upper than the inner corner of the eyebrow. Also, I want to sketch these dark areas below the eyebrows between eyebrows and the eyes because it will help me to not lose these dark shadows when I will start painting with watercolor. And now I can move to drawing a nose, and we remember that the width of the nose goes from the inner corners of the eyes. So I'm just creating the lines from inner corners and there where our nostrils will end. I also sketch the highlight in the middle of the nose. It will be white area that we will not paint with color. Right under the nose, I'm sketching the cupid's bow. From the inner line of the iris, I draw lines downward toward the line of the lips. This is usually where the corners of the mouth are located. And now I start placing the lips. I'm trying to also analyze the curves and the shape of the lips of model. I'm also sketching the chin crease, the darkest part below the lips. And I can see that there is no space for the chin, so I want to extend this line a little bit lower. Now when all the elements are placed, I want to refine some of the lines. For example, I want to refine the lower part of the eye. I'm also placing the areas of the shadows below the cheek bones and also the areas where the lightest or darkest parts are. And, for example, this is the area under the ice. Now it's time to sketch hair, and I'm trying to repeat the shape of the waves on the hair as well, trying to keep in mind where the darker areas are and where are the lighter areas. And you can even mark it on your sketch. I'm sketching the jacket, as well. You can just draw a line of the neck and the shoulders. And now our sketch is done, and we can move to the painting part. A 14. CP Color Mixes Preparation: Before we start to painting, I want to show you some preparational steps. First of all, I use both paints in tubes and in pens. And for paints in pants, I use water spray to wet them before the work. So this is what I have next to me. I have a glass of water need eraser, watercolor in pens, watercoling tubes, ceramic palette, and paper towel. Before we move to painting part, I always use kneadable eraser and remove the strawn pencil lines from the sketch. I will help me to keep my final painting clean and transparent and show the main features of watercolor to be transparent and light. Now, I'm placing my colors from the tubes on the palette. If you don't know what to use but the pens or the tubes, you can join my color mix in class where I explain the difference. And basically, it's the same paint, but colors from the tubes are more wet, more liquid, so it's easier to use them, especially if you need a bigger buddle of the color mix, it's better to use color in tubes. For me, it's just a matter of habit. And for example, I have leftovers of my azarin crimson color by Daniel Smith. So I'm just cut the tube, and I use this color just like from the pen. So the color inside is dry, and I just apply some water to re wet it. Because, you know, the Daniel Smith watercolur is not cheap and who am I to just waste it? So I will use the last drop of this watercolur until it ends finally. So now I'm mixing on the palette, the color for the skin tone. I mix in yellow ocha alzarin crimson, lavender, and also I can add a little bit of pinkish color with white in it, coral reef to make it more pale. I will also need a lot of water, so the color mix would be very transparent. And if you know my tutorials and classes, I'm a very big fan of limited palettes and using just a few colors. But this time, I decided to go unhinged and just use quite a lot of shades. So now I'm mixing slightly dark color, which is a bit more opaque. So I'm using a bit less water and more pigments, and I'm mixing yellow, oka, Azurin crimson, and cerulean blue. Now it's too red, so I we down this color mix with cerulean blue. And you can also add, for example, sepia to this mix to make it daca. And I decided to add a little bit of lavender. I want to create one more paddle with more cold shade, so I'm mixing yellow oche, cerulean blue, a little bit of a lazarin crimson lavender, and I'm just trying to add a little bit more blue. So the mix would be very cold. I will need this color for painting the sides of the nose. And now we can move to the painting part. 15. CP Face First Layer: Let's start with our portrait. First, I load my mop brush with clean water. And once again, I have two glasses of water, and one is just pure water. I cover the whole area of the face, avoiding the area of the ice. And also, I will leave unpainted uncovered by water, the white highlight in the middle of the nose. I'm using mop brush because it allows me to cover big areas, and also I don't use this brush for painting part, so I could keep it clean and apply just pure water. Otherwise, you have some leftovers of the color on the brush, and it might get muddy. I also cover the area of the lips, and I make sure that there is enough water on the paper. Once I'm done with it, I will switch to the brush number 12, round brush, and I will load it with a skin tone color that I have on the palette and we start painting the first layer. I need to make it pretty light. So if I see that the color is pretty dark, I can just add some more water and just drag the color around. I also cover the area of the neck. And once I'm done, I will clean my brush, dry on the paper towel and remove the color from the highlights on the face right away. It will be the area above the eyebrows, above the upper lip, and on the outer corners of the eyebrows, under the eyebrows and on the chin. I'm creating a bit more intense color mix on the palette, using yellow oca cerulean blue, and a little bit of pinkish color like coral reef. And I apply this color into the dark areas of the face under the eyes above the eyes and under the eyebrows, under the nose. And I gradually start building up a color. We're working in wet on wet techniques, so it's normal that the color travels on the paper, blending with the existing first layer. And that's why we didn't cover the area of the ice, so the color won't travel onto the area of the ice because this area is dry. And basically, now we are sculpt in the face. I apply more pinkish color with a lazarin crimson to the cheeks and cheek bones and also on the sides of the forehead. For the sides of the nose, I can use slightly cooler shade where the lavender is or cerulean blue, and I also let the color travel around. Also, I keep in mind that the color will get more pale and less intense once the paper gets dry. It's the ability of the cotton paper, watercolor paper. And now I try to analyse what are the areas that are still wet, and I continue apply some color, moving some color around. But be careful because if the area is already dry, it will be hard to apply more color. Now I add some more zarine crimson to the color mix of the skin, and using this color, I will paint the lips. I will use this color for painting the bottom part of the nose as well, keeping the highlight in the middle. And I drag the color downwards to the cupid's bow. I see that it looks too dark, so I clean my brush, dry on the paper towel and just drag the color a little bit to the sides. I add a little bit more lazarin crimson to the palette, and I use it to paint the upper lip. I leave it to dry now and I switch to the smaller brush number eight, and I mix in the blue color and the colors on the palette that I have, for example, a azarin crimson and yellow och just to mute it down, and I start painting the white area inside of the eye. I will add a little bit more pink color to the corners and let the color blend with the existing mix. I see the rough edge on the nose and I want to smooth it. So I just clean my brush and with a wet brush with pure water. I'm just trying to smudge this edge. And also, I can create the highlight on the lips while the surface a little bit wet. Now I prepare a bit dark color mix for the skin tone. I'm using shape, azarin crimson, purple shade, maybe a little bit of hensian red, a yellow ocha if needed. And also, I can add a little bit of coral reef to make the color more cold. But now it's too cold, so I want to add a little bit of venetian red. So it's a very long process of mixing color until you get the shade you like. And also, if it's too dark, I can just place it in other area of the palate and add a little bit of water. Here on the palette, I want to create more warm mix. So I mix in Venetian red, yellow ca, and lavender. I clean my brush between every load of each color, so the colors would maintain pure in the pens and on the palette. Now I can clean my brush a little bit and start painting with more watery mix than I have on the palette. When I see that the color is too dark, like on the left side right now, I can just drag the edges of the color with clean brush and just create more smooth edges. And now I can darken the area under the ice using this dark color and carefully applying it to the wet surface. The color will seamlessly blend in with the existing layer. Now, I will add a little bit more lavender and cerulean blue to the color mix of the skin to use this more cold shade for the shadows around the nose. I see that they are too dark, so I clean my brush and drag the edge of the color with pure water downwards. Now, I continue working on the eyes, applying more and more dark color under the ices. And also, I can start painting the upper eyelid. Now, it looks not very pretty, but you have to overcome the stage of the ugly painting because first layers, they are normally very strange and they don't look good. But you just have to keep working. It is better to avoid these rough edges of the shadow. So if you see that the paper is too dry, you can just drag the edge of the color, but try to not drag the whole area because otherwise you will lose this darkness of the shadow and just carefully drag the edge of this color. 16. CP Painting The Eyes: We continue building up the layers using this light skin tone and just layering the water column. I see that I want to increase the intensity on the shadows on the nose. Once I applied the color, I can just clean my brush, tap it on the paper towel, and drag the color around, creating more smooth, natural edge. And I will also apply this color to the cupid's bow. Now, I will switch to the smaller brush number eight and I will mix a little bit of gray shade using mix of cerulean blue and some colors on the palette and I will apply this color at the top part of the white area of the eye. I'm applying this pretty dark color for the white area, but now I will clean my brush and just move the color around. Then I will mix a zarine crimson and a little bit of cerulean to create this purplish shade and we apply it in the corners of the white area of the eye, highlighting the difference between the lower eyelid and the white area. It's too dark, so I can just lift some color from the surface using clean brush. I will apply this color in the inner corners of the eyes, leaving some little unpainted area in between as a highlight. Now, I want to create the shade for the iris. It has green color, so I mixing cerulan blue and yellow Oca. I'm using still my brush number eight, but you can switch to the smaller brush if it's more convenient for you. I started applying this color, keeping in mind that in the center of the iris will be lighter area and on the edges, it will be darker. An Now, I will switch to the small brush number two to make the eyeline, and I will use paints gray color mixed with some of the red shades or just pure paints gray, but it's better to mix it with some color a little bit. And I'm just painting the island carefully. The iris is still wet so the color can travel to that area, but it's not bad because I actually want to paint dark areas on the iris. I mixing paints gray with the green shade we mixed before and apply this daka color at the top part of the iris. And also, I can paint some lines from the pupil to the edge of the iris, creating the texture of the eye and showing its radial shape. You can lift some color from the surface if I need to keep some light areas, and now using just pure paints gray, I will paint the pupils. And don't forget to leave some little white spot unpainted as a highlight in the eye. F. 17. CP Lips: Now I will move to painting the lips, and I'm preparing the color mix on the palette, yellow oche, coral reef, and a zarine crimson. If you don't have coral reef, you can just use zinc white color, organ Brillion or even lavender, some color that consists a little bit of white pigment. I apply some dark color in the corners of the lips, and then I can just connect these areas with a pure water on just cleaning a little bit my brush to have more water on the brush. And I'm trying to leave some light area at the top of the upper lip as a highlight. I will add a little bit more a lazarin crimson, maybe a little bit of paints gray to apply this dark shade at the bottom part of the upper lip and in the corners. Now I will move to painting the lower lip. And if I see that there is a lot of color on the brush, I can just tap it on the paper towel. Now I want to mix cerulean blue and a azarin crimson to make the dark shade for the corners of the lips, add a little bit of yellow oka and paints gray, and apply this color to the wet surface. I will add some yellow oka, cerulean blue and lavender to this mix to make the dark skin tone and to apply it under the lips shadow. Now we want to make more smooth edges. So I clean my brush, load it with light skin tone, and I just apply it next to the shadow. It's too dark, so I clean my brush and make the color more transparent, leaving the highlight in the middle of the chin. I want to mix a azarin crimson, yellow Ocha lavender to create some more pinkish skin tone for the checks, and I will apply this color right away. If it's too dark, as I can see it, I will just clean my brush and make it more transparent. I leave a little line of reflection on the edge of the face trying to keep it light. Now I mix in blue, lazaren crimson, and a little bit of epia and just a little bit of finish and red to make it more warm. And I will use this color to paint the upper eyelid, the line that indicates it. I can even add a little bit of pink gray, yellow ochre trying to create darker shade. I will add a little bit of water to this mix and blue color and will create the shadow under the eyebrows. I'm connecting these areas to the shadow under the ice. I renew my color mix on the palette, a azarinGrims and Shapia blue shade and lavender, and a little bit of yellow oka. Basically all the colors I use for the skin tone. And I will paint the dark shadow under the nose and on the nose. Now. Darkening the shadow once again under the inner corners of the eyebrows and out corners of the eyes. Face looks pretty strange without eyebrows, but we will get there. Also, don't forget that in the middle of upper eyelid, we will keep the highlight. I also use this shade to darken the upper lip because normally upper lip will be darker than the lower lip. Add some leftovers of the blue colour to the mix and increase the shadow under the lips. I work simultaneously on different parts of the face, and also I can apply this shade to the eyebrows. Now, I will switch to the small brush number two and will mix some gray shade using lavender, cerulean blue, a little bit of paints gray, and a little bit of the colors that are on my palette. And I will use this color to highlight the difference between lower lid and the eye I will add some cerulean blue to the colored skin tone that I have on the palette, creating it a bit darker and colder and we apply it on the bottom of the nose and to the cupid's bow. Now, I will mix venetian red, a little bit of paints gray, a little bit of coral reef to create more intense shade for painting the lips. I apply it to the corners of the lips and at the bottom part, creating the texture of the lips. Now I will add a little bit of paints gray to this color mix on the palette and to paint the area between two lips, the lip line. It will be the darkesteria of the lips. Using this dark color, I can paint the nostrils. Now I will mix this color even more on the palette and will paint again the line of the upper eyelid. And using the same color, I can start painting the eyebrows. I'm trying to repeat the shape of the hair that I can see on the reference. I have this nice color on the palette, so I will come back to painting the lips and to paint the lower lip, applying this color to the corners and creating the lip texture. Then I clean my brush and using pure water, I'm connecting these two areas in the middle, keeping the light area where the highlight is. We'll add a bit more Azaren crimson to the mix and we continue increasing the intensity of the color of the lips. 18. CP Eyebrows and Eyelashes: Oh let's move to painting eyebrows and eyelashes. I mix brownish shade using epi, venetian red, and a little bit of purple. I'm using the same shades I used for the skin tone, just a one shade daka. I can also add a little bit of paints gray to darken it, and I mix until I will get a pretty neutral brownish shade. First, I want to increase the contrast on the upper eyelid again using this dark color, and then I can move to painting eyebrows. I don't normally use just one color from the tube, and I mix it with different shades, and a lot of arches do because it helps to create more natural and interesting shade. It adds some depth to the painting, and also it helps to unite all the elements that you are painting. So that's why you have to jump from one area to another using the same color because in the end, the painting will look like a one piece, and this one color or color mix that you are using will help to achieve it. Once I created the line for the eyebrows, I can add some dark areas using more paint gray in the mix, and also you can add some different shades. For example, add a little bit more purple or a little bit more Venetian red if you see it on the reference. This diversity will also bring more interesting hues to the painting. I'm just using one color mix to make it more simple for you. Now I can clean my brush and load it with some color on the palette and create some middle tone above the line of the upper eyelid. Also, I want to add more darkness in the corners out corners of the eyes because the model has makeup, and I can see that these corners are pretty dark. And once again, since I have this cover on my brush, I can darken the shadows, for example, in the nostrils and in the middle line of the lips. Now it's time to move to painting eyelashes and I don't use pure black color for the reasons already explained. I'm trying to mix it on the palette with some leftovers of the previous colors. I create the eyeline, and then I drag the color from this line, creating shapes of the eyelashes. Normally they grow in small clusters rather than individually, so you can connect them at the tips to create a more natural look. They aren't positioned in a straight line. Instead, they follow and curve around the shape of the eye. For the eyelashes at the bottom, we will use slightly lighter colors, so I'm mixing a bit more pink gray on the palette create a more brownish shade, and I'm trying to create less eyelashes than on the upper eyelid. I also see some shadow on the lower eyelid from the upper eyelashes, so I create in this shadow as I can see it on the reference. Now, I want to increase shadows on the check bones or under check bones, so I'm creating the shade of yellow ocha, a azarin crimson, a little bit of lavender, maybe some colors that I already used for the skin tone, but using more pinkish and reddish colors. And I will just apply this color once again to the area of the checks and we try to blur them a little bit because the model has a pretty characteristic shadows on the cheek bones, so we have to repeat them. And I want to add this color to the area above the ice because it looks quite cold right now, and I want to make it warmer. Well, I think we're almost done with the face, and we have to pay neck and the hair. 19. CP Painting Hair: Now let's paint the neck and the hair. I'm using same mix of yellow oka, azarin crimson and lavender and placing them on the palette. There was a color mix for the skin tone before, so I'm not afraid of mixing the colors, but if you want to have more pure mixes, it's better to clean your palette first. Once I'm done with my mix, I place it on the surface of the neck. So the neck should be darker than the face and then the jacket. So I'm carefully applying the color, highlighting the line of the chin. This is our opportunity to check if we need to change the line of the face. If wear your colors just went out of the contour, it's a good way to fix it. And since this area is not flat, it also has shadows and light areas, we need to apply some more color right under the face and maybe lift some color from the surface in the middle. Now I will prepare color mixes for the hair. I mix in shape, yellow Oca, a little bit of venish and red, and I have this pretty light brown color. I can mute it down with a little bit of lavender, but I will keep it that way for now. And I will mix some dark shade with sepia, paints gray, and maybe a little bit of purple to make it more cold. So these are two shades that I will use for painting the hair, the light area, and dark areas. I'm working with a pretty dark color mixes, so the water will get dirty pretty fast. So I want to change water before we move to painting. Before we move to painting hair, I'm mixing color of the skin tone with yellow oka zar and crimson and lavender. I use my brush number eight, and first of all, I want to paint the sides of the forehead because they are also in the shadow. It will also help me to connect it with the area of the hair. In the middle of the forehead will leave the highlight. So light area maintains unpainted. Now, I use my mop brush and covering the hair area with clean water, going slightly beyond the outlines so the color can spread and create a soft blurred edge. Once I cover the whole area with water, I'm using my round brush number 12 and loaded with mix of light shade and dark shade, and I apply it in the middle. And I will create the brush strokes repeating the shape of the hair. Don't worry that color travels around the paper, we will later add some more precise brush strokes imitating the hair texture. As I move closer to the face, I can apply dark color. It will help us to increase the contrast between the face and the hair and to frame the face and this shape of the cheek bones and everything. Because now we can just use this dark color as a outline for the face. So be very careful and precise with your brush strokes. I extend this line to the area of the neck because the hair, they are going into the jacket, so I can easily highlight the face even on the area of the neck. And now I start applying more dark colors. Keeping in mind that somewhere in the middle, I will still have the light area because normally light reflects on the shiny surface of the hair. So we start with the dark color at the area of the face, and then we can keep some light areas in the middle. I run out of the color very fast. That's why we have to prepare a pretty big puddle of the color mix because now I have to work on wet on wet techniques, so work pretty fast, and at the same time mix colors on the palette. Once I apply the big spots of color, I press the brush against the palette and twist it around to make the bristles spread out. This way, it's easy to create realistic hair texture. I'm mixing again some sapere, paints gray and purple shade on the palette creating dark brown mix, and I want to darken this area right around the face, framing it. And also at some of the wet areas of the hair. Now we have to work simultaneously on different areas while the surface is still wet. And in some places where the paper got already dry, I'm just twisting my brush and creating these brush strokes on the dry surface. Some of the hair goes on the face, so I can create these brush strokes also on the face area next to the eye and the eyebrow. Now I can cover the unpainted area with a dark color, framing the face once again. Mm. I applied a big spot next to the face, and now I want to create a hair texture and connect these edges. So I will twist my brush on the palette, and I will just connect these areas with thin brush strokes, carefully touching the wet area and repeating the direction of the hair. Now, I will switch to the smaller brush number two, and with the same color mix, I will create some separate hair that maybe goes in a bit different direction or just placed on the face. With this thin brush, I can also highlight the tour of the face using this dark color and very thin line. I'm connecting these dark areas around the face and just creating this outline. Now, I add a little bit of finish and red to the color mix to make this shade more warm, and I can apply some more brush strokes. And that's it hair is done, and now we can move to the final part, painting the jacket. Go. 20. CP Painting The Jacket: Now let's move to painting the jacket. I'm mixing yellow Ocha on the palette and a little bit of lavender and coral reef. You can just mix yellow ocha and a little bit of zinc white and a zarine crimson if you don't have coral reef. We need to make this pastel color. And to make it very light. Now, I will clean my brush and cover the area of the jacket with a lot of water and some leftovers of the color that are on my brush. We need to remember that the jacket will be light than the area of the neck, and at the same time, we need to diversify two different areas of the jacket right and left to make one Dhaka. While this area is getting a little bit dry, I will mix some color for darker areas on the hair. I mixing paints gray, sepia, and a little bit of purple. Using this color, I want to darken some areas on the hair to increase the contrast between dark hair and light face. And as I told you already, the cotton paper absorbs color, and it gets very pale when the paper got dry. I want to twist my brush once again to let the bristles spread out to create the hair texture. Sometimes it's not even easy for me, and in these cases, I switch to the smaller brush, and I just drag some color from the spot, creating this hair texture with a small brush. I renew color mix of purple, venetian red, sepia and paints gray on the palette and continue working on the dark areas on the hair. And again, I can add one dark spot, then skip the area and then add dark spot again and connect them with a small brush and create in the hair texture. H I switched to my big brush number 12 and I'm mixing yellow ca with some colors that are on my palette. And with this slightly dark color, I want to darken the right side of the jacket, creating the difference between left and right side. I can use more watery mix closer to the shoulders and a little bit dark color, closer to the edge between two parts. Now, I load my brush with slightly darker color, and I will paint the shadow under the color. So I'm trying to create the shape of the color and to cover this left side with pretty dark color. I can add some water to the color mix, creating lighter color, and paint the middle area of the color, but not going to the edge. So I'm keeping the edges dry so the color won't blend with the other areas. Now I want to darken the area of the neck, so I add a little bit of venetian red to the color mixes I have on the palette because I have purple habe. It's the same colors I use for the dark skin tone, and I just apply it right under the chin and drag the color around using more clean brush. The area of the coat is still wet, so I can apply dark color at the bottom, separating the lighter area of the color from the main body. I'm mixing some dark color using shape, pink gray, and a little bit of lazarin crimson, and I highlight the shadow below the color and creating the hair texture once again. I didn't wait enough to p get dry, and now the color blends with the color of color. It's easy to fix with the dry and clean brush. So be careful and wait until all the surfaces that you want to keep clean will get fully dry, so the colours won't blend. 21. CP Final Details: Now it's the time for the final details. I place some of the white color on the palette and use my little brush number two. I will add some highlights into the ice and anulte areas that I didn't manage to keep while I was painting. The highlights always bring painting to life. It looks more alive and shiny. Even though the white color is not allowed to use in traditional watercolor painting. And actually, you can keep your painting as it is without adding any white color, especially if you don't have one. It's just optional, and it's up to you. I like to add some light brush strokes in the eyes, also in the eyebrows, maybe in the eyelashes and also on the lips. I want to create second layer for the coat and to make it more three dimensional because now it looks flat. Which to the bigger brush and again, use color mix of yellow Oca and some colors that are on my palette paints gray nisi and red, yape maybe purple, some colors that help me to darken the shade. So and that's it we are done. Now, the only thing left is to add some separate brush strokes to the hair with a smaller brush, and we are done. I can wait to see your paintings in the class project section, and also please leave a review about this class. It will help me to improve my future classes and for other students understand if this class is a good fit for them. If you decide to share your painting on Instagram, please don't forget to tag my account, and I will share your painting in my stories. 22. CP2 Emotions Sketch: In previous lessons, we learned how to draw a face from the front view. And now we will try to capture emotions and draw a face in a three quarter view. We are starting our second class project. You can find the copy of the sketch in the class resources if you don't want to draw it yourself. The main line in the center of the face will have a curve. We sketch a pencil line that will serve as a guide for replacing all other facial features. We keep in mind that the right side on the paper will be bigger than the left side, and also it affects the center of the line in the hat because you see that I keep less distance on the left than on the right because this middle line, it will be not in the middle of the face, like when we painted the straightforward line. And all the elements of the face will also be placed on the curved lines. They are slightly looking downwards, and I'm placing them like this. Using citing method, you can check if all the elements are placed in the right positions. And basically, I'm placing the eyes, but I keep in mind that the eye on the left, from our hands, I will talk not from the head in the reality, but the head as I see it on the paper. So now I'm sketching the left eye, and it will be a little bit smaller than the eye on the right. Since we are drawing emotions, I have to analyze all the features on the face. For example, I see that the eyebrows are going down and then they rise up. And also the ellips they also have very specific shape, and the corners of the lips are placing downwards. So I will have to sketch all these little features and the eyelid above the eye on the right, it's almost not visible, so I can see that eyebrow goes straight to the corner of the eye, and I'm also sketching all the little wrinkles on the forehead or especially next to the eyebrows to make this look very similar to the one I see on the reference. The breech of the nose aligns with the inner corner of the eye, and that's also where the shadow appears. I'm not looking for the portrait likeness in this case, because I want to show you how to paint motions, and that's why I will not check precisely if the face features are similar to the ones that person have on the reference, so it won't be much alike, but we will learn how to paint all the motions. Now, I'm sketching the teeth and the lips, and I just repeat the shape that I see on the reference because all the faces that you will paint, they all have different features, different emotions. And that's important just to place these elements in the right positions and then just analyze every single detail and try to just copy it on the paper. I'm trying to catch the shape of the face correctly as much as I can. And in this case, as I told you, I'm not checking all the measurements with a pencil, but if you want, you can use site and method and compare all the areas to each other. For example, area from the corner of the eyebrow to the ear how much does it take in the height of the face or, for example, area from the bottom of the chin to the bottom of the nose. How much of these units are in the height of the face or in the width of the face. So you can just compare different elements to each other. Now, when our sketch is done, let's move to the painting part. 23. CP2 First Layer: Let's start by covering the area of the face with clean water, avoiding the area inside the eyes and the highlight on the tip of the nose. Also keep the area of the teeth unpainted. I use my mop brush number eight for more convenience for the vast area of the paper that I can cover with water all at once. Besides, I don't use this brush for painting, so it helps me to keep it clean and to not mix any color onto the brush, use clean water. I cover the area of the neck as well and area of the ear, already prepared color mixes on the palate. As always, I have a light skin tone and middle skin tone and a warm color for the blush on the cheeks and maybe for some warm areas. Once I covered the area, I switched to the brush number 12 and loaded with a light skin tone. I remind you that it's normally the mix of zarine crimson, yellow Oca, and lavender. I start placing this color on the forehead and in general on the face. While the surface is wet, I will be able to create the highlights, very soft ones by just lifting the color from the surface. For now, I'm just covering the whole area of the face with this light color. Now I can clean my brush dry on the paper towel and using this clean and dry brush, I will remove some color from the wet surface. For example, from above the eyes because I see that these areas under eyebrows pretty light and also between the eyebrows on the forehead. Also, normally, I create the highlight above the upper lip. And also there is some light reflection on the edge of the face, but we can create it later if it's hard to remove this highlight right now. I also remove the color from the chin. And if you see that it's hard to remove the color, you can just use the paper towel and just carefully tap it onto the paper, and it will just remove the color from the surface. Now I want to apply the color for the checks right away. So I'm using mix with orange. I had mix of orange and venetian red. I mix it with some colors on the palette, and I apply it to the area of the checks and also to the lips. This red color blends with the existing skin tone, but it's okay because it creates a nice watercolor effect that we want. And besides, it's the first layer, so anyways, it will be light. And then we just create more and more layers, creating depth in the areas where we need it. Now I will create more cold skin tone by mixing skin tone with a little bit of a lazarin crimson and cerulean blue. And I will apply this cooler skin tone under the eyes and on the further check. Also, I can start applying some dark shadows above the eyes creating these dark areas that will show the emotion of the person because you see there are some wrinkles and it's very specific position of the eyebrows and the wrinkles that help us to copy this emotion that we see. W While the paper is still wet, I will jump from one area to another building up the color, applying more and more colors to different areas, increasing the contrasts and building intensity. So now I come back to the lips. The main thing is to keep some areas light, so we won't miss our highlights, for example, on the lower lip, the highlight in the middle of the lip. Now I want to mix some more cool shade I use against rule and blue, and I place this cooler shade on the very edge of the face and also under the lower lip. I clean my brush and drag in the edges of this shadow. I don't drag the whole area. I just drag the edges, so it helps me to keep this shadow in the middle but create more smooth, transparent edges. I see that blush blends too much on the area of the skin, so I decided to remove the color. But it appears that paper is already got a bit more dry and I have some difficulties with smooth edges. So it's very important to know your paper and to understand when it's the right time to stop working on the painting and just keep it dry and start with the second layer. I can see that area above the upper lip is still wet, so it means that I can lift some color, creating the highlight in that area. Now, I can mix some slightly pink shade and apply it under the ice. The area is already dry, but it's okay. I just use more transparent color as a second layer. I can also mix some more cold shade using cerulean blue and the skin tone from the palette and use this color as well because normally the area under the ice will be pretty cold. And to make more smooth edge, I just clean my brush and use even more transparent color and drag the edge of this shadow area down. Now, I will mix cerulean blue, yellow Oca, a little bit of the skin tone that is on my palette and using this color, I will paint the shadow around the nose. Since this area is already wet, I can apply some color for the blush. I use orange color and lazarin crimson, mixing it with some skin tone and apply it to the wet surface. While I have this color on my brush, I will paint the bottom of the nose and will also add some more cochte using cerulean blue. I'm also painting the shadow around the nose, go to the corners of the mouth because it also helps us to recreate the emotion of the model. And once I applied this dark shadow, I can clean my brush and just create more smooth edges a little bit. I can drag some of this color down to the cupid's bow. Don't forget to leave the unpainted light line above the upper lip between the cupid's bow and the lip. 24. CP2 Second Layer: We continue building up the color and now I will mix some dark skin tone. I'm using yellow cha, venetian red, rulan blue. Using this color, I will start painting the shadows above the eyes and under the eyebrows. They have very particular shape that helps us to recreate this emotion. We have to just repeat the shadows as we see it on the reference. Now I can clean my brush and drag the edge of this shadow to create more smooth edge. And in this area, I will add a little bit of cerulean blue to make this shadow a bit colder. Doing the same with another side, and also I can drag this shadow downwards, creating the shadow around the nose. Using just pure water, I will connect the shadow to the area under the eye and carefully drag it more downwards, creating the wrinkle and shadow around the mouth and from the nose to the corners of the mouth. I will use a little bit more water, and I will apply some light areas between the eyes on the nose, between the eyebrows, and also on the forehead. D. We have to make these brush strokes very transparent. Now, I want to mix some dark shade, and I'm using Venetian red, cerulean blue, and a little bit of sepiam. And I will apply this color to the wet surface of the shadows that we already painted and also to the shadows above the ice Now I can apply some lavender to the color mix and using more water, I will continue building up the color, and I will just create a bit colder reflection on the edge of the face. Now I mixing orange and a lazarin crimson, and I will apply this bright color to the check bones, and then we can clean the brush and drag the color around creating more transparent edges. I apply some more lavender to the palette, and once again, I create this reflection on the edge of the face. Now I can add a little bit of yellow Oca, and I see this hue next to the ear. Now I will increase the shadows under the yes with the same color. And now I will clean the brush and with just pure water, I will cover the area of the shadow around the mouth on the chin, keeping the highlight light. And after I covered it with water, I can carefully start applying the color. Now I can apply dark skin tone for the shadows right under the lips. It's color mix of nisian red, cerulean blue, yellow, Oca, and sepia. And I'm dragging this color a little bit to the sides with a clean brush to create more smooth edge. There are some shadows in the corners of the mouth that are going upwards, and I'm also painting them with the shadow color and just making them more light with a clean brush. Now I can move to painting the ear, and first, I cover the area of the ear with a clean water. Then to the wet area, I can apply the mix of orange and lazarin crimson with a very transparent consistency. And now using dark skin tone, I will increase darkness in the middle of the ear. Of course, the surface is wet and color travels a lot. But now we just need to apply some dark color, and then we will make it more sharp. Also, I can use my clean and dry brush and remove some color from the areas I don't want this color in. Using this dark skin tone color, I decided to apply it to the cupid's bow, and I see that color is too dark, so I can just clean my brush and drag the color upwards to the area of the nose. 25. CP2 Painting Eyes: We continue working on our portrait, and now we will move to painting the eye. I switch to the brush number two, and I mix in cerulean blue with the colors of the skin tone that I left on the palette, creating very light mix. I add a lot of water to have this transparent color. I start by applying the color at the upper part of the white area of the ice, and then I just drag the color down with a pure water. Now I can mix some zarine crimson on the palette, mixing with this blue, and I will apply this red shade in the corners of the ice inside, leaving some areas for the highlight in the inner corner. Now I can clean my brush and just drag some color around creating more transparent and consistent layer. Every time you use just clean water to create soft edge, you lose intensity of the color on the paper, and that's why we have to go back to that area and repeat the same color mix, for example, with the second layer or third layer. This time, I want to create a bit more warm red shade, and I'm using venetian red and apply this color to the inner corners of the eyes. Now I will mix the color for the iris, colored area of the eye. I mixing cerulean blue and yellow cha and a little bit of paint gray to create a very natural green shade. It's more like a muted green, but it looks very natural. And I apply it at the upper areas of the iris, letting the color blend a little bit with the existing layer. Of course, I don't forget about little white areas that I keep unpainted for the highlights. Now I will clean my brush, load it with a red shade, some venetian red and some lysriin crimson, and I will apply this red shade to the corners of both eyes. Then I can darken the color mix for the iris and add more paints cray to it. Using this dark color but not pure black, I will paint pupils and the shadow in the upper part of the iris. I can also create a line inside of the eye in the upper part, creating the dark shadow from the eyelid and also from the eyelashes. It's the line for the eyelashes that we will create later. Using dark color, almost pure pins gray, I will outline the iris because normally iris has more dark area around and more light color inside. I can also make some straight lines from the pupil to the edge of the iris, creating the texture of the iris. Now I'm using leftovers of the painscray on my brush and I mix it with red shade that I have, venetian red, yapia and yellow cha. And using this dark color, I will increase the shadow above the ice. I'm trying to repeat the same exact shape that I see on the reference because with these shadows, I will not blur them and I will not smudge the edge. I will leave it as it is because it should be very dark and clear. Only after I've done the dark shadows on the eyelids, I can paint the eyelashes, and first, I will create the dark black line for the eyelashes, and then I will create the eyelashes itself. Now, I'm mixing Venetian red and cerulean blue to create dark color for the nostrils. And using this dark color, I will create shadows on the nostrils. I don't use pure black colour because normally we are mixing some dark shade, and it helps our painting to look more natural. And using the same color, but I add a little bit more pink gray to darken it, I will paint the eyebrows. I'm trying to add some more different hues, for example, venetian red and yellow ochre, because normally the hair in the eyebrows, they are slightly different in the color. So in some areas, they will be darker and in some areas they will be lighter. Now I'm mixing again, some dark red shade, mixing Venetian red, azar and crimson, and some colors on the palette to create darker inner corners of the eyes. It looks like I already lost the white highlight in the inner corner, but it's okay. I can just use the white watercolor in the end. I'm also creating the dark shadow between the lower eyelid and the eye. And now I wanted to add some red shade on the outer corner, but it's too bright, so I'm using just clean water and some more muted shades to combine it with the shadow under the ice. Now, I see that the area on the nose is too light and flat, so I want to add one more transparent layer of the reddish shade to the areas around the top of the nose. I keep this white highlight. I avoid painting on it, but I just apply some very light, almost transparent color. Though you can add some of the transparent color over this highlight to make it less white. 26. CP2 Lips and Ear: Now let's move to painting the lips. I'm mixing a azarin crimson and a little bit of finish and red to create this pinkish, but not too cold shade. And using quite a lot of water and my brush number two, I cover the upper lip with this light color, pretty transparent. I will also leave a white, unpainted line above the upper lip as a highlight. And now I start building up the color, applying more and more color to the wet surface. Especially in the corners of the lip and also at the bottom part. Just try to keep the middle area pretty light because there will be a highlight in the middle of the lips. Now, I will move to painting the lower lip, but I will first create the texture and connect this upper and lower line. And then I will create some lighter areas in the middle. So basically, to make the lip texture, I create very thin vertical lines repeating the shape of the lip. Now I can apply more and more color to the wet surface and create more dark area at the upper part of the lower lip and in the corners. Now using the clean brush, I can just smudge these rough edges of the highlights in the middle. I can add a little bit of paints gray to the red color mix to create dark shade and apply it in the corner of the upper lip because there will be a pretty dark shadow. Now, I will mix some Venetian red, cerulean blue, and epi. Probably I have this mix on the palette, and I can darken this shadow under the lower lip. Now, I can use some colors that are left on my palette, some pinkish colors and increase the shadow around the nose. So I will just apply a pretty transparent color mix creating these edges of the nostrils and the shadow on the bottom part of the nose. Now I will add some paints gray to the color mix that I used for the shadow on the lips. Basically, some Venetian red, yep and cerulean blue. And I will use this dark color for painting shadow inside the mouth and around the teeth. So about painting the teeth, it's pretty simple, but you just have to keep this shape as one, not separate teeth and just more like one big shape with different edges. I messed up a little bit, but I will try to make it as realistic as possible. Now I can also work on the darkening shadows on the lips. So I will just create some dark areas using Venetian red and leftovers of this dark shade on my brush. I keep light areas in the middle because it's the highlights on the lips. I can just create some thin lines as a lip texture. While I have this dark red color on my brush, I will increase shadows in the corners of the eyes, as well. I think I'm done with the lips, and now I want to move to painting ears. So I add a little bit of yellow Oca to this red shade, and I will start placing the shadow in the ear. Let's darken eyebrows a little bit. I apply some more pains gray, and I add this dark shade at the bottom of the eyebrow. We can't leave the teeth as white as they are right now, and I will load my brush with some color on the palette. It's basically a little bit of cerulean and a lazarin crimson or pinks gray, but still a lot of water and very transparent color. I apply this color to the area of the teeth because they are in the shadow inside the mouth. 27. CP2 Neck and Hair: We are done with the face, and now we can move to painting the neck and the hair. Now I'm mixing azarin crimson, ceruleant blue. On the palette create in some dark shade, I will add yellow och as well. And I'm creating a pretty intense shade. I add a little bit of coral reef. You can use other color with white zinc white inside. I add some water to this color mix, and using this carmix, I will build in a color on the face first. So I'm creating a pretty transparent layer at the bottom part, leaving some very thin line between neck and the face unpainted. It will be the reflection that we always see on the bottom part of the face. I see that it's pretty cold shade on the reference, so I can add even a bit of lavender to the color mix to make it more cold. And using this color, I will apply to the wet surface. Now I will mix a azarin crimson and a little bit of yellow ochre and we apply this color to the area of the blush to create more intensity. And again, I'm trying to avoid the rough edges. So I drag the color upward to the forehead and I will apply this transparent color on the area where the forehead connected to the hair. I also want to apply some of this color to the area of the ear to connect the area of the ear with the face so it will not look like it's separate thing from the face. Now I'm mixing, again yellow Oka, azarin crimson, a little bit of coral reef, and maybe some color that I used for the dark skin tone. I'm mixing the color for the area of the neck, and we have to remember that normally the neck will be darker than the face because it's in the shadow from the face. So I apply this color, and I control the intensity of the color by applying more water if I see that the color on the paper is too dark. The darker areas will be right under the face and around the collar on the shirt. First, I'm creating a very basic layer of the wet surface, and then I slowly apply some dark color to the areas that I mentioned before under the face and around the color. I mix in cerulean blue and venetian red, and I will apply this color in the right up corner of the neck. Now I want to add some bright and warm color to the neck, so I use orange color and mix it with yellow Oca and a little bit of lyserin crimson, and I apply this color right on the wet surface under the face and maybe a little bit on the ear just to connect this area, so it wouldn't be one area with this color. So normally if you introduce some new color, try to use elsewhere to connect the whole painting in one. Now I'm using my mop brush, and I cover the area of the hair, and I go around even above the borders with clean water. Because I want to create some more blurry lines, not with rough edges. And now I will mix some dark brown color using sepia, Venetian red, maybe a little bit of purple for another shade and orange as well. So I need to create two mixes. One is more warm and light like here. I'm using orange, sepia, venetian red, a little bit of yellow Oca, and another one will be daka with a purple color inside. Now, I use this light and warm brown color, and I apply it to the wet surface. Actually, it's too wet and the color travels too much, so I might just wait a little bit, but now I can just create these brush strokes around the face. And closer to the face, it's the dry paper, so the color stays exactly where I want it to be. Now I can slowly introduce darker color, especially behind the ear, and I use a little bit more paints gray added to the mix to make it dark and I apply this color behind the ear because it will be the darkest area. And this area will help us to highlight the contrast between the ear and the hair on the background. So the hair works as a dark backdrop for the light area. I'm trying to keep some light areas to show the direction of the hair, how they are curled in this ponytail. And now I can apply some dark color at the upper pod, and the paper got already almost dry, so the color doesn't travel so much, but still I can be very careful because if you can see that the paper is too wet, you just have to wait a little bit longer. So now I'm just mixing the light color and dark color, and I apply these dark areas in between the light areas. And I might wait a little bit more to create the second layer. 28. CP2 Hair Second Layer: One Now, let's prepare the color mixes for the hair again on the clean palette. First one will be light colour and more warm. It's happier brown and venetian red. And the other color mix will be more dark, and still, I cannot use just pure black. So I mix in shaper brown, purple color, and a little bit of paints gray. And I will just use this color for the dark areas. I start from the darkest area on the hair. It's the area behind the ear, as I told you already in the previous lesson. I applied this color, and you see that the shade is pretty dark. And actually, I use a lot of colour, a lot of pigment, and not a lot of water. So the consistency, if you know the three consistencies of watercolor, tea, coffee, and butter, this would be like coffee consistency. Something in the middle, not too watery, but pretty dense. Now I can twist my brush and create these brush strokes in the middle of this curl, repeating the shape and the hair texture. When I move to painting the rest of the hair on the hat, I remember that there will be a light area in the middle where the hair reflects the light because hair normally have shiny texture. So it means that we have to show this shiny texture with a lot of reflections and highlights. So try to not cover the whole area with a dark color, leaving some of the areas unpainted with just the first layer underneath. Now, when I apply main spots, I can switch to my brush number two, and I will create more thin brush strokes to imitate the hair texture. I'm holding my brush almost vertically and carefully with the very tip of the brush, I'm painting this hair connecting two watery spots. The hair don't grow very strictly and straight. So there are some separate hair that goes, like in a chaotic way. So I'm painting them as well to show this very realistic hair texture. Yeah. I also want to add this dark color to the inside of the ear to highlight the dark shadows. And I will just clean my brush and add a little bit of water and drag the color because I see that the color is too dark. At this stage, we can add some more contrasts to the dark areas. For example, I mix and paints gray with purple and some color on the palette and I apply this color to dark an area inside of the mouth. Now, I will add a little bit of finish and red to the color mix to increase darkness on the lips in some areas as well. First of all, I want to separate the teeth from the upper lip by a very thin and dark line. Then I want to apply this color to the corner of the lip. It's too dark, so I will clean my brush and drag some color and also the lower lip and some corners as well. I can also darken this area of the nostrils at the bottom of the nose. And very carefully, I can outline the edge of the face because in some places the color traveled beyond the edge of the face. Just be careful with this outlining because your brush stroke should be very precise and consistent. Now we're almost done, and we can move to painting the shirt. 29. CP2 Jacket: Let's move to painting the jacket or a shirt. I'm not sure what it is. I'm mixing yellow Oca engine brilliant, creating very pastel light color. And I start by applying this color to the whole surface of the jacket. If you don't have this color, you can just mix yellow oka with a little bit of lavender and a lazarin crimson or yellow Oka with a little bit of zinc white. I take some brown color from the palette and mix in with the existing beige color and apply this color to the shoulders of the jacket. And this is just first layer, so it should be very light, and we will add some more intensity and depth later. While I'm waiting for the jacket to get dry, I can make some dark areas on the hair. I'm mixing Shep, purple, Venetian red, and a little bit of paints gray. I'm twisting the brush, and I'm making these dark brush strokes on the area of the hair. Now I will prepare a color mix for the second layer for the jacket, a mix in Venetian red, a little bit of yellow Oca, a little bit of brown shades that are left on my palette because the second layer should be slightly darken and also coral reef that I also have on the palette. It's not necessary. Again, you can replace it with the zinc white or just don't use it at all. You see that the surface is still a little bit wet on the shoulders. But on the color where I need very precise and rough edges, it's dry, so I can easily continue working. Oh. Meanwhile, I can also add some shadows on the neck, so I will add some venetian red to the color mix and apply this color around the color because we will see the shadow from the color on the neck, and it will also help us to separate the neck from the color. Contrasts always help us to visually separate different parts of the image. And again, I want to darken the area under the face, so I'm using a little bit of orange, yellow oak venetian red and cerulean blue to create some warm but pretty dark color. Now it looks very dark, so I will have to clean my brush and drag some color from this area. Now, I use dark mix that I have on the palette with paints gran it, and I will apply this dark color under the color because there will be the dark shadow on the jacket. I can mix the colors that are on my palette, which is slightly lighter and skin tone and dark for the color. And with this mixed color, I can darken the area behind the color on the neck. While the surface is wet, it's easy to apply color that will just blend with the existing one. And we are almost done with our second class project and only some final details left, which I will show you in the next lesson. H 30. CP2 Final Details: Let's move to the final step of this big class project. Now I mix in the very light skin tone using lazarin crimson, yellow Oka lavender and some colors that are left on the palette, but you can also just use a clear palette. I just decided that I didn't want to clean it at the last stage. I will use a lot of water for this mix, and I will just start applying it on the further check because it looks very flat to me right now. I'm using my brush number two, and now with this transparent mix, I will just increase these shadows to highlight the wrinkles that are going from the nose to the mouth. Also very specific corners of the lips and wrinkles that are going from the lips upward. So now I just increase in this emotion that I see on the face. But it shouldn't be so dramatic and dark like joker, so I will clean my brush and just reduce some color from the paper. I will just drag color around with a clean brush, and it will help me to make this shadow more seamless and smooth. I want to add some freckles, so I'm mixing a azarin crimson and yellow Oca, and I'm placing some random dots. Just make sure that you don't use a lot of them because they just have to be a few. And I didn't use splashes from the brush because I want to control this application of the freckles. But also, you can just carefully cover the area of the face and apply some splashes. I want to darken this wrinkle and this shadow on the forehead and between the eyebrows. And also, I'm analyzing if I should make it less visible or if I should leave it as it is. I'm darkening the area under the jaw and next to the ear, also, I can darken the ear itself a little bit because normally ear also in the shadow a little bit. And with these last stages, I'm done with this portrait. I hope that you like the painting you got and you like the painting process. You didn't stress too much, and just remember that the most important thing about painting portraits is practice. All you have to do is practice, practice, practice. Thank you for joining the class. I hope you learned something new, and I will be waiting for your paintings in the class project section, and I will give you my feedback. I hope to see you in my other classes and to see more of your paintings. 31. Final Word: Congratulations. You've successfully completed the class. It wasn't an easy one, but you've done it. Now it's your turn to share your painting with other students and with myself. Please submit your paintings as a class project. Attach your painting, and also I would appreciate if you could leave a review. It will help me to improve my future classes and to get a feedback from the students is very important and inspiring. Thank you for joining the class, and I hope to see you in my other classes.