Painting beautiful girls using Procreate app

1. Intro 1: In the painting beautiful girls with procreate class, immerse yourself in the world of digital artistry. As you can learn essential techniques for creating stunning portraits of beautiful girls using the procreate app, Whether you are a beginner or an intermediate artist, this class provides a comprehensive guide to elevating your digital painting skills and bringing your artistic visions to life. In this class, you'll learn the fundamentals of digital painting. Fundamentals of facial features, essential features of procreate. This class is perfect for inspiring digital artists, illustrators, and anyone with a passion for creating cabuating portraits. Join us on this artistic journey and unlock the potential within your digital caneras. 2. Introduction 2: Hello and welcome to Painting Beautiful Girls with Procreate Course. My name is A K N Pi, your guide and instructor to this course. I'm thrilled to have you join this artistic journey where we'll explore the captivating world of digital painting together. Make sure you have your procreate app installed on your ipad, your Apple pencil ready. And don't forget to check the class material sections for additional resources. All right, let's get started. 3. Procreate basics: Hello everyone. Welcome to Creating Beautiful Girl with Procreate Course. To begin, let's get to know the ipad. The one that I have here is an ipad pro 2021. But don't worry, the Pro version is not required. A regular ipad will work. Two, my previous ipad in the ipad 106 from 2018 that I use for studies. Here you can see some of my art that I created with it. The key point is that any ipad can be used for drawing, as long as it supports a stylus. If your ipad supports a stylus, you're good to go. However, the number of layers you can create may vary depending on your devices specifications to go to Nat information. Here, this canvas size is approximately eight fold size. On this ipad Gen six, you can create up to 26 layers for this type of canvas. The ipad Pro, on the other hand, has high as allowing more layers and better performance overall. If you frequently find yourself needing more layers, you may want to consider the upgrade to an ipad. Here we'll discuss about screen protectors. The one that I'm using here is the paper like screen protector. It reduces glare and make drawing with the stylus feel like it's on real paper. As you can see, without a screen protector, you experience more glare, which can be harsh on the eyes. While it is not requirement, I do recommend having a screen protector to reduce eye strain. Now let's download the brokered app. You can find it in the app store, and it looks like this. After the installation is complete, you'll be presented with this gallery. To create a new canvas, simply click on the plus icon. Here you'll find a variety of canvas sizes to choose from. I usually like to work on a standard size, but if you want to create a completely custom canvas, you can click on the small plus icon right here and input your own dimensions. For example, 1024 by 1024 pixels. This section provides information about the canvas including DPI for printing. And the amount of supported layers in this case is 996, which is quite a lot. Then there is a color profile which set things like RGB for digital drawing and CMYK for printed works. We won't delve into this, so it's fine to leave it. S the Time lab video option allows you to export your work as a time lap video. Then there is a canvas properties where you can change the background color or hide it by clicking here. Now let's talk about the stack wish functions like a folder. You can easily drag and drop similar file into the stack to keep them organized. To do this, simply use your finger tap and hold on a file, then drag it into the stack. Wait for the stack to open, then release your finger. That's it. If you create a new canvas, you'll see a window like this. Here's the color view, which you can customize according to your preferences. But I prefer mine this way. Next is the layer section. These are quite straightforward. The bottom layer is in the background, while the top layer is in the foreground. It looks a little something like this. If you want to paint within the boundary of a lower layer, you can create a new layer on top. And select clipping mask like this. Now let's talk about the N, which is short for normal. This represents the layers current blending mode. You can choose between a variety of different blending modes. I often use multiply to create shadow and overlay to make colors pop like this. It's often interesting to experiment with these settings. Give it a try next. The opacity refers to the level of transparency. 100 means the layer is fully opaque while sliding to zero, make it fully transparent. The Erasio tool works as you would expect, is for erasing like a brush. However, you can also adjust a variety of Erasio settings. Next is a blur tool, which is for softening colors. I consider this one of brokerage, most standard features, as it is extremely helpful and easy to use. Expect to see it used frequently in this course. We can also select different brushes, however, I prefer to keep it on medium hot air badge. For now, let's move on to the Brad settings. As a student in this course, you'll receive a custom Brad Set that I create. Make sure to download it from the provided link. Once the file is downloaded, you'll find the brushes right here to install them. Simply click on them and they will be imported automatically. You now have this brush set available. Feel free to experiment with them to see which one you like or find the most suitable for you. If you want to create your own brush, here's how to do it. Click on this plus icon and you'll have a default brush to start with. The spacing setting represents the gap between brush stock. This is useful for creating effect like pearls or him. Next is the stabilization setting, which stabilizes your strokes so they aren't as ably. Here you can adjust the level of stabilization as you draw, you'll notice that the line is, this is great for creating smooth lines or for calligraphy. After that is the taper setting which adjusts how the brush tapers at the beginning and the end of each stroke, giving this kind of effect. Shape allows you to modify the brush alpha for squeezing it here, see how the shape changes. You can even rotate it or make more drastic alterations to change the shape entirely. Go to it, import the source library, and you are presented with a wild selection to choose from. Let's pick this one and click Done. You can also adjust the scale to your liking as well. Scatter adds an element of randomness to the brush, scattering the stroke in different directions. Grain refers to texture. You can adjust the scale and change the texture by going to eat it. Import then sauce library. This will provide you with a variety of options. Let's say you want to change it to this one. Simply select it and click. This is just a rough overview of how to create a custom brush. I encourage you to experiment with it. After you're happy with your newly created brush, you can go ahead and write your name to claim it as your own creation. There are other aspects such as rendering, which we won't go into too much detail about because the information can get a little overwhelming. This course is about focusing on drawing female faces using the app. We'll mainly cover the functionality we need most frequently during this course. All right, so let's explore some more commonly used features. Insert Photo allows you to select images from your phone or ipads gallery and add them to your canvas. Now the drawing guide is a feature that you use quite a lot. It comes in various forms, such as two de grid, which is handy for creating straight lines or guiding your drawing. Then there's a perspective for drawing scenes and symmetry, which is useful for your guest symmdical works. You can choose between vertical, horizontal quadrant, radio symmetry. By the way, the last one is excellent for creating intricate patterns with a single stroke. Go ahead and experiment with these when you enable the drawing guide, it will appear here as assisted. If you decide you don't want to use it, you can simply turn it off by clicking here. You can also tackle the grid on and off like this. Next is adjustment, which includes options like hue, where you can change colors. Saturation for rividness, and brightness for lightness. Another one used quite often is the curve fissure, which works similar to hue but without affecting the color. Let's have a look at blurring tools. You can see like cousin blur and an adjustable bar appears. Then simply use your pen to control the blurriness. Another helpful tool is liquefy. I am a big fan of this feature and use it frequently because sometimes your drawing may not look quite the way you want it to. You can make adjustments like this. Here we have push, reconstruct, pine, expand, blah, blah, blah. So go ahead and experiment with them to see how they work. Next up is the selection tool, which you'll find quite helpful as you work, as there are a variety of options for selecting parts of your artwork. For instance, to select a specific area without affecting the whole layer. Clicking here and then click Copy Paste. It will be moved to a new layer. This way you can work on it without affecting the layer below. Free hand is another handy tool. Select free hand and Color fill chose a color picker point to fill with this color and click at. Is that easy to remove it? Just use the removed tool. The inward feasure inverts the color while feeder control the softnes of the edges. Something like this. The arrow icon represents the selection tool as well. You have options like free form, to freely adjust the selected area size without thinking about the proportions, while uniform maintains the proportions. Finally, the Warp tool is crucial for things like creating patterns on clothing. When you slick warp, you can slowly rotate and adjust, allowing you to fit patterns to the control of the character's body, realistically. Now, a couple of handy gestures that you should know. The first is to undo. All you're going to do is tap on the screen with two fingers. If you want to just clear the screen completely, all you're going to do is to take three fingers and move it to the side. Something that I want you to remember is the flip horizontal feature. It's very important for shaking your work. When we stare at the same thing for too long, our brains often ignore mistakes. Flipping horizontal is like refreshing your eyes and help you to see air that you might have overlooked. This is a quick explanation of the most essential stuff that you need to know in order to use the program. So that you can start creating stuff right away without having to watch hours and hours of tutorials. I definitely encourage you to explore and experiment with all of these features to get a better understanding of them. Happy drawing. 4. Face proportions: First we'll discuss the proportions of the face. We'll start with a brief explanation, not going into too much detail. As many know, the head is typically round. An important line is the vertical Cymmertical line of the face. This will be the eyebrow line followed by the hair line, then the nose, and finally the chin. These three sections will be of equal size. Additionally, the position of the ears will be approximately from the eyebrow line to the tip of the nose. The position of the eyes will be slightly below the eyebrow line. The eyes and the size of the eyes, as well as the distance between the eyes will be equal to the size of one eye. The nose will be equal to this space as well. Then comes the mouth, the width of which will be similar to the width of the pupils. These are the rough proportions of the human face. But for a semi realistic style, there might be adjustments such as reducing or increasing the size in certain areas. For instance, the eyes might be position lower and made larger. The nose might be narrowed and the mouth and face size reduced. For those worried about drawing lines inaccurately or seeking additional guidance, we can opt for tools like a two degree adjusting the size as needed. We will find the vertical symmertical line, then the eyebrow line, the nose and the chin, and the hair line the eye line follows. The drafting method varies from person to person. Some might be similarly drawing a T shape for the pace, while others prefer using circle. After learning Basic, you can choose any drafting method you prefer. Some might sketch free hand, as it can save time for phases at certain angles since they are not too complex. However, if you are still not confident with the proportions, it is recommended to use the Loomis method. Start by drawing a circle, then draw the symmergical line. Mark the positions of the eyebrow line, airline, nose and chin, ensuring eco distances. Then draw the outline of the face, curving slightly at the shin below the nose. Mark the position of the ears, even though the cause may focus on semi realistic work, is essential to learn the correct proportions first. Next is the skull, which does not start from the ear, but from behind the ear ending at the back like this. And the neck will be cylindrical, and then any excess part to reveal the rough proportions of the human face. Next, we'll cover the side view of the face. We will start with a circle. As before, assuming the face is turned in this direction, the vertical exits line will be on this side. Then we'll have the eyebrow, nose and hair line. The ear will be located about here. After that, draw a line from the eyebrow down to the shin. And also from the end of the ear to the next. Draw the eye line and the mouth. With this, we will have a 45 degrees side of the face for a full 90 degrees side wheel. Start with a circle again. The vertical line will be completely on the side with the eyebrow lined in the middle. Followed by the nose line, the chin, and the hair line. Draw another line in the middle of the circle as a cross. The position behind the cross will be where the ear is located. If you are still a beginner, it's recommended to start with a method of using circle and symmetrical line first. It may seem complicated, but it greatly adds in drafting phases from challenging angles. Next, we'll demonstrate drawing using a photograph as a guide. You can download the image from the provided link. Once downloaded, insert the photo to your canvas, then reduce the opacity so we can clearly see our drawing layer. We start with a circle. As usual, the face in this picture is slightly tilted. The central line of the face will be slightly slanted like this. The eyebrow line will have a slight curve following the plan of the circle. Then comes the nose shin, the hairline followed by the position of the ear, eyes and the rest of the face. The face is the same. Draw down past the nose a bit and then curve into the shin. Next will be the cylindrical neck, and the skull will be start from behind the ear. Let's look at another example, but this time we won't be tracing. We will place it next to our drawing, Like this, practice a lot using this method so you can improve and become faster with fewer mistakes. You can try practicing with this image file. Try to place the nose hair line and neck. Just play around with it. And we'll meet again in the next video. 5. Adjusting proportion: In this video, I'll be demonstrating the process of transforming the proportions of a sketch from a realistic style to a semi realistic one. The semi realistic approach is relatively popular in the digital art community, especially for creating illustrations suitable for gaming. Generally in the semi realistic style, features such as larger eye size, a greater distance from the eye to eyebrows, a relatively small and short nose, small lips, and a pettaial structure are common. Additionally, the head tends to be slightly larger. Now time to explore the step to transition from the typical proportions to the same realistic proportions. Let's take a look at these three images. They all appear similar and we're going to make some adjustments. For instance, in this one we'll selectively refine certain areas. We will lower the eye area, slightly elevate the nose and then raise the mouth. Following that, we will control the phase to make it appear smaller. In simple terms, we are tuning the facial feature akin to popular influences on social media. This next image will follow a similar process, but with a heightened level of exaggeration. Now we will continue by sketching in more detail using these facial features. The method of sketching may vary depending on individual preferences and skills. For those who are not very precise, it's advised to focus on marking the eye socket and then moved onto the nose. It often has a droplet shape followed by a horizontally oriented mouth. Now let's add more detail by roughly sketching the upper eyelid. The upper eyelid tends to have a distant curve, while the lower eyelid is usually less curve. Next outline the eyebrow structure, followed by the nose and mouth. Moving on to the side view. Starting from the left nost. Everyone can try replicating what we've learned and start sketching in more detail. Next we'll depict a sight profile, turning the face at a 90 degree angles. The same method applies to adjust the facial structure involving the position of the mouth, nose, eyes as desired to draw the side view. Let's begin with the forehead, then the area between the eyebrows and down to the eyes curve inward. The nose bridge is where the nose curving in again just before the upper lip. Generally the lower lip inward more than the upper lip. Below the lower lip curve in slightly again. The shin protrudes once more before reaching the jaw line. The area around the eye socket is situated in this part. The nose area tends to ptude the nose. The part below the nose forms a structure resembling stairs. Feel free to practice and add your own details. If you have any questions, don't hesitate to ask. 6. Detailed sketching: In this video, we will proceed with sketching in more detail, building upon the mark position for the eyes, ears, nose, and mouth. We will begin with a circle like before, followed by a vertical line to determine the direction of the face is turning. Then we'll add lines for the eyes and eyebrows, the nose line, the jaw line, and finally the hair line. Next we'll sketch the position of the facial features. Next step is to reduce the opacity of this layer and create a new layer on top. We then start drawing the eye socket followed by a rough outline of the eyebrows. After that, we will outline the nose, followed by the rises, moving onto the mouth area, outline the lip, and then proceed to the other areas like the facial structure and neck. Finally, we will add a rough sketch of the hair. Once you have this rough sketch, you can close the lower sketch layer. If you feel unsatisfied, you can use the liquefied tool, choose the push mode, and gradually adjust the areas you find satisfactory. Now the details sketch for this image looks better for this image, try sketching it yourself using the techniques. If you have any questions, feel free to comment and ask. 7. Eyes structure and sketching: Hello, In this video, we'll explore the structure of the eye. First we have the white part, which is the eyeball, Then we have tear. Next there is a upper eyelid and below it is the lower eyelid. Then we have the iris. The dog park in the center is the pupil. It's very important to remember that the eyeball is not in the exact center of the eye, but its position slightly higher. When you open our eyes, the upper eyelid comes down to cover about 1 ft of the iris. The inner corner of the eye is usually lower than the outer corner. Let's move on to sketching. We'll start by drawing a circle for the eyeball and a smaller circle for the Eris. We will roughly outline the eyebrows, then determine the length of the eye and mark the positions of the upper and the lower eyelids. Normally, the inner corner of the eye is slightly lower than the outer corner. Next, we'll draw both upper and lower eyelids parallel to the circular shape of the eyeball. Since they consist of skin, we need to add some thickness to them to make our drawing more three dimensional. The thickness of the lower eyelid is quite visible, while the thickness of the upper eyelid is usually less apparent. You can, however, notice the thickness of the upper eyelid from the shadow it cats on the eyeball. After that, we'll get some people in the center of the iris. Next, let's cover the elges in more detail. When you look at the image, you'll notice that the eyellages extend outward along these lines. This is why observing real life references is so important because we can directly apply what we see in our work. Using references is crucial when it comes to the overall creative process. With this knowledge in mind, let's get the eye laches roughly according to the reference material. Moving on to the eyebrows. We will first learn about how the eyebrow alignments work. At the beginning of the eyebrow, the lines will be vertical. As we move along, we'll angle them toward the end of the eyebrow. In the middle of the eyebrow, there will be hairs that grow from the top aligned downwards towards the end. Let's continue sketching. Based on this information, we should have something that looks like this, after which we can erase any excess. This sketch will be similar to the first one. Try to focus on understanding these principles as you sketch and practice. Let's have a look at the eyes from the side view. Let's assume this is a side facing face. The position of the eye will be approximately here. Drawing the eye from this angle will result in this triangular shape. Then we'll add the eyelid, the eyelashes, and finally the eyebrows. The upper eyelids eyelashes will point upwards and may have a slight downward angle, while the lower eyelids eyelashes will point downwards. With these ads, we should have a side facing eye. A tip for drawing allergies is to start with one line and then add more lines to create a cluster. It should look something like this, with multiple clusters of two or three lines. Try not to make them to, even as this will make it look unusual. When starting any work, make sure to create a new layer. As for sketching the eye, we will begin by roughly sketching a circular shape for the eyeball. Then we will proceed to the part of the iris defining its approximate length. Next door lined, following the curve of the eyeball. In this part, we'll define the upper and lower eyelids. Since these steps are part of the sketching process, you don't have to worry too much about the details. Finally, let's draw the eyelashes and complete this part. In this photo, the head of the model is turned at roughly a 45 degree angle. The face is tilted slightly to the left. The models gaze will be directed toward the camera. We need to draw the iris to face it as well. Continuing as before, we will draw the upper and lower eyelids along the curvature of the eyeball. As mentioned earlier, the eyelids represent the skin which has thickness. So we'll add some to make the drawing look more complete and realistic. If you look closely, you'll notice that the left eye appears more narrow than the right one. This is due to the curvature of the face. The more the face turns away from the point of view, the less of it we see. Furthermore, when the face turned to the side, the lower eyelid is deeper and closer to the eye compared to the upper eyelid. Studying human anatomy shows the position of the eyeball is not in the center of the eye is higher. This is why the lower eyelid appears deeper or more inward than the upper eyelid. For the eyebrows in this photo, they are relatively thick and you can slightly see the individual hairs. Based on what we have already learned about how the eyebrows are lined, you'll be able to figure out how to draw them. Moving on to the eyelashes, they follow the curvature of the eyeball. In the next image, our model is facing straight, but her gaze is to the side. In this photo, you can see that the upper eyelid area where it meets the iris is the widest part. This is because the shape of the iris is not flat against. The eyeball is protruded and like a contact lens, depending on where the iris is positioned, it pushes the eyelid to making it appear wider. As for the last image, is a large forward facing eye looking directly at the camera. The trick in drawing an eye looking straight ahead is to move the irises slightly toward each other. This make the eye seems like they are looking directly at the camera. Sometimes it might look like the eyes are crossing. But you can adjust this letter when adding detail. For now, the main goal is to make the eye appear to be looking directly at the viewer that's set for this video. If you have any questions, feel free to ask in a comment. In the next video, we'll be adding color to the eyes and make the eyebrows in a semi realistic style. See you there. 8. Eyes coloring: In this video, I'll explain the process of applying color to the eyes. We'll start by separating the line layers using the selection tool. After that, copy and paste the selected part, and you'll see that it has become another separate layer. Move the line layer to the top and then we'll create a new layer under need it for the best skin color. Use the selection tool to select the area that we are going to paint, Choose the color, and drag it to the best skin area for the skin color, I recommend using a slightly desaturated color. If the color is too bright, you can always reduce the brightness by using the curve tool. First, select the color for the eyes, for the white part. Some people might immediately go for pure white, but I recommend a soft, pale, bluish gray color instead. This makes for a more natural look compared to pure white. As for the black part of the ice, you can choose any color you like as long as it's melted non bright color. Next, we will create a new layer above the skin layer and change the blending mode to multiply before darkening the desired area. To select the skin color, simply hold your finger, which will sample the color. Then apply it. For those who are unsure about how to apply shadow, I recommend just following my step for now. Next, we'll use the blur tool to smooth the color. If you're curious about the brush I've been using up to this point, it's simply this one. Once you are satisfied, go to the line layer and gently use the blur. Don't worry too much about the lines because you'll need to add details again later. Now, create a new layer at the very top and change the blending mode to multiply, select the color from the shadow area. And use it to draw the O and the eye lashes to give it a defined look. Here we color the under eye area, then the iris. And finally, we'll draw the eyelashes. Once you have this result, click on the layer and you'll see these options. Select Merge, so the eyes are combined into a single layer. Use the blur tool to gently smooth it out once more. After that, we will create a new layer and change the blending mode to overlay, select a red tone and apply it to the eye area. The reason for using red tone is because it's the color of blood. Applying this tone will make the drawing appear more lifelike. Once you are satisfied, merge the layers again and retain some more details. You may wonder why I create so many layers and then merge them over and over. It's because I prefer working few layers and merging them. Often it makes for a more straightforward workflow. When I want to add something new, I create a new layer and draw on it. If I don't like the result, I can simply delete it. If I do like it, I merge the layer like this and continue. Yes, the middle of the eye will have a soft color and is a point where it protrudes. This will make it catch more light and appear lighter. Then choose a variety of bright colors and apply them to the irises to make them look more interesting. Let's work a bit on the details You can draw the eyes however you like, just remain observant and practice drawing regularly to continue improving. Once satisfy, merge the layers again above the rises, they should have a shimmering quality like glass. Observing this feature from a picture of a glass bead, so you can apply its to your work. Now let's move on to the highlight. Choose a very light color, almost white, and apply to the upper eyelid, lower eyelid, the eye area and irises. This will give you a beautiful eye that looks striking and have dimension to them. Next. It's more of a personal technique that I like to use. Whether you follow it or not, it's up to you. I use the curve tool to reduce the contrast of the image to make it appears vivid. This is purely a personal preference. If it's not your thing, feel free to live things as they are. That's roughly how you can color the eyes. If you have any questions, feel free to ask me. I encourage you to practice regularly and showcase your work. If you desire feedback on your work, always feel free to ask, see you in the next one. 9. Nose sketching and coloring: This video will focus on the nose. The nose is positioned at the center of both eyes. Here we can see the breach of the nose. Here is the tip. Those two are the nose straws. There won't be any detail around the nose because we follow a semi realistic style which doesn't emphasize details too much. What we'll focus on is adding shading here to create the breach of the nose over here to make the nose stand out from the face. Then we'll add some highlights in this area to create dimension, we will start by sketching and coloring the nose, which begins in the center between the eyes. I personally like to shape it like this, similar to a drop of water. I use this shape because it aligns well with the curve in the horizontal section of the nose and resembles the tip of the nose as seen in the referent image. This area represents the bridge of the nose with the tip below that. Then you have the nostrils, as I mentioned earlier, when it comes to the nose, it's in the semi realistic style. It doesn't require an excessive amount of detail. However, shading can still be used to create the bridge of the nose and to make the nose appear as a prominent feature of the face. Adding highlights in the right places can add the mention for a specific example. Let's look at the nose that is slightly turned upward. You can start with a similar approach, beginning with a shape like a water droplet. You'll notice that the curve in the horizontal section of the nose follows the shape of the tip of the nose as seen in the reference material. Next, let's consider a profile wheel, where the face is turned to the left. In this case, the central line of the face will also turn to the left. Start with the same sketch using the drop shape for the tip of the nose. The horizontal section of the nose will be similar to the previous examples. However, this time the vertical line will represent the breach of the nose. Erase the axis. Then you'll have the nose that appear turned to the side. Let's continue with the coloring process. Start with the drop shape sketch. You can proceed to color the nose and add depth to it. First, separate the line layer from the others. After that, create a new layer and place it underneath the line layer. Use the selection tool to choose the area to apply the best color, and then drag the color into that area. If needed, you can always adjust the color. Take advantage of the flexibility of digital art. Once we have the best color as desired, we will proceed to select a reddish orange color and apply it to the breach and the tip of the nose. As I explained, using a reddish orange color help make the artwork look natural and lifelike, since it resembles the color of blood. After achieving the desired effect with the best color, we will blend it and create a new layer, set it to multiply. We then apply the color to the shaded areas to add more dimension. And adjust the intensity of the nose tip to ensure it look more three dimensional. The sides of the nose are made slightly darker to make it appear more prominent. After achieving the desired effect, we will blend the colors once again. Subsequently, create a new layer and choose a dark red color to add depth to the nostrils. This will enhance the overall three dimensionality of the nose. Finally, add the highlights to the nose, particularly in the area of the bridge, as shown in the image. I realized that the nose may appear a bit too realistic, so I decided to use the liquefy tool to slightly reduce the size. Next, let's learn how to tackle a nose that is turned at a 45 degree angle. We will create a new layer underneath the line layer and apply the beds color. Then use an orange or red color to add a touch of blood circulation. Proceed to add color in the areas with shading, like the bridge and the underneath the nose. After achieving the desired look, blend the colors using the blue tool and refine the details. To finish up, you can apply highlights by selecting a light color and add a high light effect to the nose. These steps should help you create a nose with dimensions and depth in your artwork. If you have any more questions or if there's anything else I can assist you with. Always feel free to ask. 10. Lips sketching and coloring: Next we will proceed to draw the lips. The upper lip is composed of three fatty lamps, while the lower lip consists of two. The darkest part of the lip will be on this area. With this, we have a rough outline of the lip structure. Let's have a closer look at this particular set of lips. In this image, it appears as if you can't see the central, but is there just less visible? This is the first and this is the second and the third fats for the upper lip. Time to move on to the process of sketching the lips, you can download the file from the provided link. First we'll draw a horizontal curve like this. Then a straight line which forms the separate point between the upper and lower lip, and then the lower lip that you're all set for. Sketching the lips with this next image, we will use the same approach as before. It's done nice and straightforward, isn't it? What's crucial here is that you practice regularly as practice, who makes you improve your drawing skills? Next, let's move on to coloring. First, we'll separate the sketch layer, then just like before, create a new layer and place it below the sketch layer. Use the selection tool to select the area where you wanted to apply color. Now, choose the color for the lips. It can be red, pink, or any color you prefer. Fill in the selected area with your shoes and color. Then select a light gray color and apply it to the area of the teeth. After that, we will use a blur tool to blend the colors together to make them harmonize. With that done, choose a slightly darker right and apply it to the inner and the outer parts of the lip to create dimension. Use the blending tool to adjust it to your liking. Create a new layer and change the blending mode to multiply, then apply to the inner part of the lip. My coloring process involves adding dark colors and blending them gradually satisfy. Now let's blow the lines and when you are satisfied, merge the layer. Create a new layer set to multiply and pant in the darkest areas. Now let's address the issue of the lip not looking very vibrant. We'll create a new layer, set it to overlay and paint it with the bright color. This will make the lip look more lively. Next, we'll enhance the lip details by selecting a color tone, and painting along the lip edges. The following step is one I particularly enjoy. I will choose a very light color for the highlighting slowly along the convex area to achieve the nice glossy lips. I still prefer less vibrant colors, so I'll merge all the layer again and adjust the curve setting for a more subtle look. Now let's take a look at one more example. As before, create a best color beneath the sketch layer. She like the lip color blended? Chose a darker color for the inner lip. And then carefully blend the lines, refine the details on the dark areas, and then at the highlights P Don't forget to practice a lot. And if you have any questions or need feedback, feel free to let me know. See you in the next video. Bye. 11. Ears sketching and coloring: For the ears, their position is on the sides of the head. About as long as the nose. The ear has a complex structure with concave and convex form and some overlapping parts. However, we won't delve into the anatomical details. We'll focus on the overall shape. Let's assume this is the face. We'll start by sketching the elope, which is attached to the face. Then we'll outline the part of the ear that curve parallel to the lope. Pay attention to how different parts of the ear might protute or receive to make your drawing look more realistic. The coloring process for the ear is similar to the previous steps. Begin with the best color beneath the sketch layer and then a reddish orange color for the shadows. Blend the line and refine the details in the area where light and shadow meet. Drawing the ear doesn't have to be complicated since this course focus on a semi realistic style. But if you have any questions, always feel free to ask. 12. Face plane: In this video, we will proceed to add color to the facial plants. Since this image depicts a frontal face, we will utilize the symmetry feature as usual. Set the color layer beneath the line layer. Then we'll block off the edges and drop the skin color. I will make a slight adjustment as the colors seems to be too vibrant. Next, you'll see like a darker color To add shadows, focusing on areas like the eye socket, eyebrows, nose bridge, and the tip of the nose. For those unsure about where to apply shadows, you can follow along with me after shading will smartly applied shadows. Once satisfied, merge the layer and create any one. Adjust the blending mode to overlay and use an orange color to apply high lights to the area like the eyelids, nose, cheeks, and lips, as well as the ears, creating another layer. And the blending mode is optional. If you want to increase the brightness, you can use overlay. Or if you wish to add shadows, you can use multiply. Once you have achieftd, this create a new layer and choose a bright color to apply highlights to the bright areas. This includes the upper and lower eyelid sections, the breach and the tip of the nose. The inner side of the eyes and the cull also highlight the bottom corner of the mold and the, this is a rough approximation of the facial plant in a semi realistic style. Feel free to practice and experiment with it. If you have any questions, don't hesitate to ask and see you in the next video. 13. Hair structure: In this video, we'll discuss how to draw hair. First, we'll divide the hair into three parts. The front, the middle, and the back sections. The front part of the hair is the part that covers the forehead or falls in front of the ears. The middle section extends from the ear, while back section includes the rest of the hair. Let's try sketching it. Start with the front part of the hair, outline it roughly, then move on to the middle part and follow it up with the back part. Here we have another example. Start with the front part of the hair, sketch it roughly, and continue with the middle section. Since you can't see the back part in this image, we'll just focus on these two parts. Next let's look at how to sketch here. I recommend starting from the outer structure and working your way in. Then add more detail to refine it. Enhance the detail of the front part of the hair and add more intecracies to the inner part. In this way, you will have a rough representation of the hair. Next, I'll show you how to sketch more flowing and beautiful hair. If the hair is long and look flowing, I recommend not drawing it too rigidly. Instead, try to follow a more natural flow is being blown by the wind. This will give it a more dynamic, lifelike appearance. Let's take a look at two examples. The first one is drawing the hair in a stand out way with normal details. The second is more detailed and gives the hair a beautiful and intricate flow. It may have some layers and adding some strains or wisp will make it look even more natural. Give it a try. It might be challenging at first as making hair look beautiful can be difficult. But as you practice, you'll get better and more comfortable. Give it up. 14. Hair sketching: This is my Pinterest, where I serve images as examples including a variety of hairstyle and facial expressions. Feel free to shake it out using the provided link. Once you have chosen a hairstyle, let's start by sketching the face. Because you are an excellent student, you remember the basic principles of facial sketching we've seen so far, right? Okay, now that we have the face, let's import the selected hairstyle. Go to this and choose Reference. Then click Import. Then we can begin sketching the hair. Starting with the banks. Remember to divide the hair into three parts, front, middle, and back. Start with a rough outline before adding details. Once you have a rough sketch, you can refine it by adding more details. Now we'll work on the bread. We shall have a left or right overlapping pattern. Next we'll start working on the line art. We'll reduce the opacity of this layer, creating a new layer on top. And resize the brush to make it smaller. Then start drawing the line based on the sketch in areas where the hair overlaps. I would recommend drawing darker lines for a more aesthetic look. You can visit my pins for more hairstyle inspiration using the provided link. Here we have sketched the line of the hair. In the next video, we'll move on to coloring. See you there. 15. Hair coloring: In this video, we'll discuss how to color hair. To begin, we'll start with creating a new layer underneath the line layer for the best color. Next, we'll outline the edges of the hair, then applies the best color. If you feel that the color looks too vibrant, you can always adjust it using the hue saturation settings or curve tool. Now let's create a new layer above the base hair layer. And change the blending mot to multiply, select a color and apply it in the shadow areas. This color will define the edges of the hair. To keep this color within the boundaries of the base hair layer, you can use sleeping mask. Next, we will create another layer on top and change the blending mode. To screen, we will use this layer to add highlights. You can follow the natural curve of the hair and give it a slight curve based on the shape of the head. You can also change the high light color as desired. Now let's create a new layer on top of the line layer and apply a clipping mask. Adjust the color slightly and merge the line layer with the new layer. Then adjust the blur tool to blend the lines. This will give the hair a more natural look. Merge the hair layers to combine them. Create another new layer on top se a light pinkish orange color. And apply it to the area adjacent to the skin. Then add some final details to the darkest part of the hair, including the tiny hair strands. This will add depth to the hair. Finally, select the hair color and start drawing fine lines around the edges of the hair, making it appear more natural and less rigid. This will give the hair a more flowing and dynamic look. This is a relatively complex process. If you have any questions, feel free to ask. See you in the next one. 16. Start the project 1: In this video, we are going to start the project. But first I'm going to make a new canvas. I will choose a square. Okay, now I'll import the reference by going to reference here and choose image import. I will use this one as a reference. Because if we choose the difficult angle right now, it will be difficult to focus on the workflow that we learned. For the brush, I use pi and medium. Hot air brush size 3% and opacity 30% Pick any color you like. Go to Drawing Guide 80. Drawing guide and symmetry. Okay, we'll start by drawing a circle for the skull, something like this. And then the vertical line, something like this. And then the eyebrow line. Yeah. And then the nose, the hair line. And then the chin is still remember the proportions, right? And then the face, the position of the ear, something like this. And Bill removes the axis, the nick, this is the rough outline. And then we'll go in more detail lowering the opacity and then create a new layer on top. Dings, maybe you can change the color. I, I suck it and not mouth. Now a little bit more detail, further proportions. It's going to look super ugly of course, but we can fix later structure of the eyebrow and knows and then and the contour. So this is what we got. Looks super ugly. But don't worry, we adjust the proportion like using. So I'll make the eyes bigger and the nose smaller, and the lips a little bit big, but not too big. And the small face for woman, a small neck is better because if it's too big neck, it's going to look like a man. Okay, after this I will start outlining the hair. Maybe we should t, of the drawings Ss, I feel like the ears are too big, so I'm going to reduce the size. And then I'm going to change the size. Make sure that the middle line is in the center. Something like this. And now we are going to reduce the opacity. And then new layer for the details sketch. Still remember the basic anatomy, right? The inner corner of the eye, usually lower than the outer corner, not, not the lips keeps the nose might be a little bit too big, so I'm going to use liquefy. Okay, then the face in this pick, I noticed that the end of the ear, it's a lot higher than the end of the nose. It happens because the face is not completely straight, but it's down a little bit. So that's why the position of the ear is higher than usual. We're going to do the same thing. This is the normal position, the usual position of the ear. And if the face tilted down, the position of the ear will be higher. Also, if the face tilt up, the position of the ear will be lower. Okay, now I'm going to talk off the rowing *** and start working on the hair. It's going to be challenging because we will do many things at the same time like hair, eyes, lips, not separate anymore. All right, now that we got this, I will close the lower layers and you can group it like this for the back up. This is the sketch layer. The line art layer. What? I'm going to create a new layer and and they need the line layer. We'll start using the best color you can use, any color you like. Okay? Okay. I'm going to apply the color to the features of the face, such as lips. Blue eyes and the eyeball we can do the nose and then we're going to use the blue to same medium heart airbrush. And the hair is black but I don't want to use fully black yet, so I'm going to use Create is something like that. You can see that the hair is outside of the boundary of the skin. First I'm going to talk of drawings, then I'm going to use clipping mask. Now it's inside the area. All right, now that we got to sketch the best layer, in the next video we will in more details. So see you there. 17. Start the project 2: In this video we are going to continue the coloring process. We can merge this down and then I'm going to create a new layer clipping mask. And then going to pick the color, change the blending to multiply. Then don't forget to use the drawing assist. Okay, now we are going to work on the shadow areas here, here and then use the bull tool to smooth them out. Okay, after this we'll merch the layer again and then go to the line layer. Drawing assist and blur the line. Be patient merged layer again. And I'm going to create a new layer again and change the bending mode to multiply, drawing assist. And I will do the shedding again one more time. I want to do the shedding one more time because I feel like it's a little bit too light now. I'm going to apply shadow in the hair area as well. I'm going to change the background color too. Okay. And then I'm going to march the layer again. Will the excess these lines because you, you don't want it to appear in your artwork. I'm gonna use the enjoying as, okay? And now I'm going to create a new layer, change it to multiply again, and then choose the color like dark but not too dark. I don't forget to use drawing assist. 18. Start the project 3: I think the nose is a little bit too short. So I'm going to fix the proportions a bit. Assist key and then going to create a new layer again. And then change it to over lay during creping mask and then shows the color that are going to be What was his call again? Rush on. Rush on, yeah. And I okay, then blur out again. Key. Now I'm going to work on the S. What I'm going to do is to create a layer and go to the drawing guide and then edit Drawing Guide. In the option going to show a radio, put it in the middle of the S, like this drawing assist and start working. Okay, next I'm going to slide veer to the left and then duplicate. Use the selection tool and then move to the side. Okay, now we're going to remove the axis. This is another way to draw the irises March down again. I want to add more shadow here again. So I'll change the planning. Moto multiply again and then apply here. Next step I will make the eyelashes. We're going to the drawing guy again. And then edit drawing guy because it was like this, but we want the vertical click, choose the black color for the eyelashes. And very small brush drawing as and then lighter color for the lower eyelashes. And then we'll use the blood tool again, smoothed out the sharp areas. Now it is high light time, merged the layer, create a new layer and drawing as, change the blending to at. And then this ya, no and a cupito and highlight for the hair, that curve along the skull merged out again. And then we'll work on the overall detail again. Okay, The last step I will create another layer and change the brush. Okay, I will work with the tree, it's done. If you have any questions, feel free to let me know. And don't forget to practice a lot. What I wanted to tell you is that don't give up. Just give yourself some time and keep practicing. Start with this easy angle like this, and then when you're comfortable with the workflow, you can start working on more difficult or more complicated angles. So yeah, that's it for this course. Thank you very much for joining me again and see you in the next course maybe. Okay, bye bye.