Transcripts
1. Introduction: Hi, I'm Dan from watercolor Mental. If you're a beginner looking for an easy way to fast track your progress in portrait painting. Then this class is for you. In this unique sketchbook class, you'll be painting for portraits in a short amount of time. And we'll learn a wide variety of techniques that you can apply to any watercolor painting. I'll be going through my simplified two-step process when applying light and dark values to portraits. And by the end of this course, you should feel much more confident to paint a portrait independently. So enroll in this class, and I will show you everything you need to know to produce some exciting and vibrant portraits. Okay? Yeah.
2. Materials Required: So before we get started, I want to talk a little bit about materials. These are ones I've picked out that basically the bare minimum that you can innate. So a watercolors sketchbook or watercolor paper, if you don't have watercolor paper or a watercolor sketch book, you can use normal kind of cartridge paper or a general sketch book, except the only issue is the colors probably not gonna look as vibrant and you're not going to be able to layer as much. So just keep that in mind. Brushes, I've got a couple here, just a smaller detailing. Brush. Round brush really helps when you're doing things like eyelashes, pupils, nostrils, bits here that, uh, strands of hair that really helps. And a larger flat brush here you can use a round brush. Do find a flat brush a bit easier because I find you can cut around shapes easier. Pen and a razor, really important. So before you even start painting, and I'll go through this later, it's really important to make sure you've planned and sketched your portrait onto the page that's going to form the plan and all the, basically the blueprint of your painting. In terms of paints, I've got myself a little pallet of paints here. So if you've got artists grade student grade watercolors, those are going to work really well. If you do have some more affordable ones that come in, those KC watercolors that you get in those beginners kids, that's also going to be fine. But just remember, in terms of the colors and the effects are just not going to be able to get that level of quality at the end of the day. But still, that's all you have. I just recommend using what you've got.
3. Drawing: Intro and Using Grids: I'm going to be talking about why it's really important to understand facial proportions. And I'm gonna also talk about some of the techniques you can use to transfer over a reference image. So if you have a photograph of someone that you want to paint, or if you just want to go from, I guess, imagination and draw a face from scratch. So I'm gonna talk about why it's important to understand facial proportions now, before you even start painting watercolour, it's crucial to make sure that you've got the plan of what you're painting. And I've talked about this in landscapes, where you're painting things like trees and buildings, which is quite important. But it's even more crucial when we're talking about faces, because there are just specific proportions to the face that if you do get them off, it looks a bit strange or doesn't look quite right, especially if you're trying to draw someone from a photograph and make it look like that person. Really important to make sure that you've got those proportions correct. So that actually looks like that person. So there's a few options that you can use. The first option is gridding. And gridding essentially is when you take a reference photographs so you can print one or from your computer. It's probably the easiest way. And you divide that into a grid. And you do the same thing on your bid of watercolor paper, divide that into a grid, and from there you draw each individual section of the grid rather than drawing the entire photographs. So I'll show you how this is done, just pretending this is an actual photograph. So what we're gonna do here is just measure how long this boxes. So it's about six centimeters. So what I'll do, I'll measure this side as well, which is about nine centimeters. So what I'm gonna do is I'm going to separate these out into three centimeter boxes. So if we go three, six here and 36936936 here, what we can do is then draw a grid over the top. Well, if the reference photograph, and we can do the exact same thing here with this box, which is proximately six by nine centimeters. I'll just start from here. 36. Do the same thing on this side 36 and this side 366. So we'll get that in like fat. And I'm doing this very roughly. And if you're wanting to get the proportions exact, you do want to spend a bit more time actually measuring out these boxes. It better. But essentially what you're gonna do here is that you are going to now look at your reference photograph and look at the box that you've drawn on the page with a grid that you've done. And you're gonna look, okay, this section of the head here starts about here. So, and then ends up bad. Say here. Say then you can draw that section, then you can look at the hair begins about here, finishes here. You've got this BQA crossing over around the middle of the box and you've got, hey, just come in across like that. So looking at where the lines intersect the box and using the box is a reference. So it's a lot easier to draw from this than actually looking at the whole photograph and trying to figure it out. And you can look at where the eyes are. So the eyes are kind of just below center of the box. And finish about here. Go around just to the middle, to the left and then you can draw the eye and you've got the eyebrow like that. Then you've got the other I kinda beginning here, like that, finishing about there. The eyebrow. And you can look at the nodes weirder than those stop. So the bottom of the nose is a bound here. And then you've got the nostrils that come out here and here that you've got the mouth so we can say, okay, it starts ran at the center of the box, the opening of the mouth and leave at the bottom, which is about here. And you can look at the lips wherever the lips finish around here and here. Like that. And be allies with a bit more detail.
4. Drawing: Tracing: Now the second option that you've got is probably one that's the most obvious and does get a bit of controversy at times. And that's tracing and it's pretty straightforward what that means. Basically, you get your reference photograph printed off your computer and what you do, you just put the photograph underneath underneath that paper and maybe get a lighter desk lamp or something and just put it underneath. And from there you can trace over your reference image. And I always say to students, if you are tracing, you know, there's no pressure and there's no rules as to how to transfer an image on its, I guess whatever gets the job done. And the only thing I have to say is, I think it's also really crucial to learn how to draw, because there's going to be times where you're not gonna be able to trace in those particular time. So if you've got someone in front of you or even if you're drawing a landscape, you're going to need to understand how to estimate distance and estimate proportions and how big and small objects are. So if you learn how to draw, I think that's going to make you a better artist in general, but that doesn't mean that you cannot trace as well from time to time. So I've done it every now and then these days, I'd generally draw a free hand. And that's because I want to improve my actual free hand drawing skills. So just really something to keep in mind, but it is an option. It also saves a lot of time. So if you're looking to just get started painting, you know, you don't want to focus much when drawing and all you wanna do is get straight into it. Go ahead and trace. Don't worry about what people say at the end of the day. It's just another way of transferring the image onto the paper.
5. Drawing: Face-on Portraits: Now the last option you have when you're trying to draw a portrait is basically freehand. So using a reference is one option or you can basically just draw freehand. So whether you're using a reference or not, it's really important to have some general understanding of facial proportions. So that's what I'm gonna do right now to just should give you a really quick crash course on how to draw male and female faces, will turn over the page. And what we'll do is I'm going to just draw a circle like that to begin with. And then we'll come in like that with this sort of jaw line. So to begin with you kinda looking at it's almost like an egg, an egg shake and inverse egg shape like that. And notice the way I'm holding my pencil as well. I'm holding it at the end and just being quiet loose because at this stage, we're not trying to define any features or any exact proportions yet. We're just trying to get the general shape here. So from here what we're gonna do is that from the top of the head to the bottom of the head, we're going to find the middle, the middle lines, so it's around here. So I'm just going to draw that in very quickly like that. And then what we're going to do from here, we're going to divide this section between the middle of the head and the bottom of the head again into half like that. And from the new line that we've drawn to the chin, We're going to draw another line right in the middle. So you've kinda have that section, have that section between head and the chin. And then you're having that again and you're having it another time. So this is really a very basic step of determining where some of the features are. So generally speaking, you're looking at this line for where you place the eyes. And it really varies from person to person. Generally speaking, you have about half and i went through from the edge of their head to the corner of the eye starts. And then half and i went from that side. Though some people do have their eyes closer to the center of the head, meaning they almost have a width. So it all comes down to observation and looking at your subject person, or whether you're looking at a photograph just to see where those features lie. And you really have to concentrate a lot at times because when you're not drawing, you don't really notice these kind of things and where that features lie proportionally to each other. So something to keep in mind. Now, what I'm gonna do is I'm just going to mark out the general width of the eyes and will go to three. So I'm using my pencil here just to try to get to make sure that the center here is about one eye with Sir here. Then I've got another. Section here in the middle. So from here to here is about one odd with heat. He it's yeah. It's one always. So you want to leave about one eye in the middle and just go ahead and get into some details of the eye. And at this stage, you can do the eyebrows as well. So just pencil them in pretty lightly like that. Some people have higher eyebrows. Oh, they lower to the eye. It doesn't really matter. Just depends on your subject getting the details of the eye just a little bit. This section here that we've marked out is for the bottom of the nose. So you just want to mark it out like that and then look at where the nostrils flare out. Generally speaking, they come down to about just the corner of the eyes. So just something you want to observe in your subject as well. And some people have nostrils that flare out more, or some people have nostrils that are closer in. You just need to look at your subject. I want to get in so the nostrils. So this line here is basically the bottom of the mouth. And so we'll start getting in the line, opening up the mouth here and the lips. And what you wanna do is make the lips almost as wide as the eyes like that. Just where the pupils go down. And the E is placed in between the eyebrow, hands around the bottom of the nostrils, the nose, something like these. And do some of the details in the 0s as well. And from here you can start refining the details a little bit more. I mean, he changed the face shape. This one I'll make more kind of male looking. So generally speaking, if you're drawing a male face, they're going to have Shop and looking features just a little bit more kind of Angular. But with that said, it really depends on your subject. There are certain patterns like men generally have bushy eyebrows, smaller eyes. You want to emphasize that christian bigger, begun noses and with their lips as well, they're thinner on top. And the bottom. You're going to get the i leadings. Well, just in little impression. I defined the nose a bit more. One of the things I use cotton bud. And this just allows you to do some general shading like this. The cheekbone here. And at the top of the head around he is, he looked at what kind of here this this person has. So I'm going to just get in some very basic like that. So that's your basic male portrait. So I'm gonna do a female one now. Will start off again with the head top area and going to come in like this for the bottom. And I'm going to make it more triangular shaped like that. And again, really depends on your subject. And some people are going to have larger, small, square-shaped jaws. And some people are gonna have more narrow jaws. If you're drawing a female, they're going to have slightly less emphasize jaw features, depending on who you're talking about. We're going to start now doing the same thing as before. So we're going to get the top of the head, bottom of the head, Find the middle line is around here. There. I get into some of the ai's. And we're gonna look at separating this to Harvey key and like that with the nose and then just below here for the mouth about halfway through. So using this strategy, now just going to go through and do the eyes and leave a bit on the we have a bit of space on the outside of the eye, just heat at half and I width and you'd go bad. And I width here like that. And just get rid of this line, the center like that. So you can do the eyes a bit bigger. And it individually. I lead like that. And generally with the eyebrows and not going to be as thick. And we're gonna go for the nose. Bottom error if the noise here. And we're gonna go from more smaller looking knows, just getting in just a basic impression, the nostrils in there. And we're now going to look at the math. So put it in the bottom of the mouth, can be a little bit more adventurous with the lips. Here. So starting out around here and here again, measuring where the eyes, the pupil, people's sort of finish and do yourself some leaps and emphasize it a bit more. Probably should be a little bit further up. Lie here. That's the bottom of the mouth. And then we'll do the middle of the mouth here. And finish that off like, Hey, now what we're gonna do is just get in the e is between the eyebrows and around this area of the nose. Make it a bit smaller as well. And you can now start to define the jaw line. Now. Again, depending on your reference, you're going to have to look and see whether they're draws water or more narrow. And I'm gonna do the hair now. So I think we'll start off around here and just carry a very basic, some basic here. It really shouldn't matter whether the hair is long or short. When a female, you should be able to tell. Because if you've got in some of the features that I've mentioned before, and I'll look female regardless. And another thing you might want to do, you can emphasize eyelashes, like that. Little highlight there in the eye. You really keep going on and on. Even just a bit of shading on the violet light that's going to help to just a little bit of shading. So two very basic portraits that are done without a reference. So keep in mind that these two portraits are face on. And once you turn the face to the left or the right, the proportions can change slightly or there's just a few things you got to take into consideration. I'll show you how to do a face that's turned to the side in the next video.
6. Drawing: Side-on Portraits: Alright, for this video, are going to be doing a sketch of a face facing sideways. So slightly different, but very similar concept as before. So I'm going to start out with the top of the head. Read the circle is usual. And just connect that down to a kind of triangular, rounded triangle at the end like that. And what I'm gonna do is I'm going to just use some guiding lights and I'm going to bisect the face like this. Just to show that it's on an angle, turn into the right. And same for these lines here. So up the line down the middle of the face like that. And the nose line here, and here, the mouth here. So just by doing these lines, you already have an idea of where to place the eyes and the nose, everything like that and what kind of angle that's going to go off. So we'll start off with the eyes and lock before I'm just going to measure and see how big we need to make them. So say we'll start one off here and leave a space here. And one for the other. I hear surround that sort of distance. And I'm just gonna put in very light details for the eyes here like that. Okay. And we'll get in the eyebrows as well. So just a general shape. Same as the other side. This and the nose. We're gonna get that coming off on a slight angle to the right. And I'll get in this nostril here. And remember what trying to get the area of the nostrils to line up, generally with the corners of the eyes. And like I said, it just depends on the person that you're sketching. And we can join this up and lead would be it. You've seen a cotton bud. And what we're gonna do is pretend that there's a light source coming in from the left-hand side. So we're going to have shadows that are cast on the right side of the face. And we'll just get in the mouth as well. So this is going to be the bottom of the mouth like that. And interesting thing here is that your lip is going to be shorter on the right-hand side, then the left. Because of the face being turned. So really remember to get that in like that. Almost lined up with the i please. Just a general indication. And I'm just going to use the cotton bud to smudge a little bit and also add some shadow coming over to this side of the face. Like that. Just to indicate the light source. And a dog and the eyebrows. A little. Look at some more details to the eye as well. We'll just make it look like the person's looking to the right-hand side here. Pupil placement is important for this. Like that. You can add and also just a little highlight on the i like that. And I lead. I've got a mono lead or double y lead. Even just outlining and his is fun. Make these lipid bit a bit more volume in it. K. And again, just adding some more shadows to the right side of the face indicating a lot source. Okay. And what we'll do is I'm going to turn this into a female. At some eyelashes, some more emphasized eyelashes that women went a bit too far Like that. And same for this one. Here. Can I lift up a bit of the lip and it's much too much in the corner. Font, the nose a little bit more. And we can start putting in the E is now so so like I was saying before, you're going to have one of these coming out from underneath, just above the top of the eyelid and stop around the nose areas at the bottom of the nose. So just get that in quickly, like that. And we're going to be smaller on this side. And in the shadow. So Dogen that and we'll get the other one in like that. And here you can just start to do some things like that. Have just come down the side of the face. Here. Books like that. And we can start looking at things like defining the jaw line a bit more like this. And also put in the neck. But that's a very basic sort of face that's turned to the right. So just remember some of the features that are gonna be shortened the term on the right-hand side, in darkness as well, doing the other one that's turned to the left. So I'm given the top of the hit again and the bottom like that. Okay. And we're gonna get in the middle section of the head and face like that. And what we're gonna do is just mock out the eyes. Look at male one width here. So just give that a try. Arrays a bit with this graphite. Eyebrows. Mark the meadow area, the noses, and the bottom of the mouth. And let's measure up here. Coming on a bit of an angle like fees. So get the right nostril when something like that. And those coming out of there. And my ten, this one to a male, change the eye location to make him looking to the left. And lot source. Coming from right. Want to de-emphasize the eyelashes as well. Just get the detailing in the eye and to the mouth as well. Thin ellipse. But automobile the lip here. A reader is known as a view that good anymore, that null is true and emphasize the size of the nodes would be poor as well. And I'm going to make these eyebrows get more Boucher. Okay? And this gets some of the 0s in, so have one year and the other one around here. Some details. And I'm just going to widen the dual. Bid more. This lip needs to come out teeny bit more to hear. But here we go. This is where the nose underneath. And we can get here in here. Like that. Hands, that light source is coming from the rod again. I'm just going to make some shadows. Just being costs the left side of his face. That doc in the lips a bit. And it's a very basic portrait as well.
7. Female Portrait: Blonde Hair: Okay, so in this video, I'm gonna be doing this portrait in the top left hand corner. And really going to make an effort to do this in two layers. So we're gonna make it quite simple because with couple of lines, especially on this paper, which isn't a 100% cotton, you're going to be able to get some noise contrast and also a sort of loose simple effects. Just don't wanna get too bogged down in all the details, but I also want to make it look like an actual person. So one of the things I'll do first is get the flesh tones in. And I'm gonna go mix up a bit of common pinkish sort of read. And I'm also going to grab some Hans, a yellow mix that in pink. And what I'll actually do first to see if I can just getting some of the more yellow tones in the face. So I've sketched out the portrait here and just indicated the Lada here, is that the face? So I'm going to just go in and give this a try. So that's probably the largest area of the face. And just carry that all the way down even to the lips. And the Ching area. People more yellow. Doesn't really matter too much what colors you use. More importantly, is the actual values that end up on the page. So let's mix these all in. Wow, paint is still wet. And do these pretty quickly. And remember to cut around the eyes as well. That really try and get this done as quick as I can. I don't want to fiddling around for too long. Guard down into the neck as well. Here. We'll paint at around this. I get the ear and join that all on like that. And and so the neck here. Okay. So while this is all mixing together, I'm going to pick a bit of blue, become a bit of the blue from the pellet. Mix that up puppet in this second, well here, so much ten into a purple. And let's see if we can get some of the darker tones and the face underneath that leap there, and the chin. And underneath the nose here. Just wanna darken up this left side of the face. Pete Mall. And the shadow on the left side of the head. And soft and as well the edges. And lift at kit of paint on this end of the nose. Like that. If Saddam denies K, That's all. Blending. Hopefully. Getting some highlights to little highlight there, they see I need to call it that beating as well to aka. But just leave these little highlight there. And coming into the neck, carry these washed down further. And what I'm gonna do now is I'm going to try to get in some of the hay. So I'm going to pick up the beauty of these Naples Yellow and mixing it in with some around as well. This is a bit of burnt sienna k. And I want to make the side of the hair a lot larger than the left-hand side. Just indicate the light source to the right is cut around that. Bring that down more darker as you go down, especially in this area here. Stand out a bit Lots of first. Then I'm just going to go in darker here. And I'll probably add some more docs later on to the left-hand side. Now, this needs to be favorite dark AF and name. If you add a bit of blue in there to dock in it up, doesn't need to be Ted Dhaka then. Time's kind around that years will face and it finishes here around the neck. Okay. Let all that dry off a little bit. Kind of going now with the smaller brush here. And now I might also just emphasize some of the features. So the eyes, for instance, get a little bit of pink. Kinda ran that. I like that bit of detailing. And same for the one on the left. Okay. I'm going to get the lip seen. Maybe use it, people will read it. And it's hard to kind of see droning before, but give it a try. And this area in the left side, I'm going to soften, soften down, help that to blending more flips that sort of goes into the shadow is a bit more of the shedder. Underneath the chin, goes to the left. And then this area of the chip here, which kinda curves around the face. Get some more blue, dark and a bit more. Okay. And bring this and connect up into the corners here of the rod side of the face is needs to be under some shadow is well, it's due to the hay. And now I'm going to soft in these edge like that. And more on the top of the head. Underneath the eyebrow. Self to narrow little bit. Kay. Give it a quick dry, add some more details. Let's go with some eyebrows. And now I'm going to mix up a doc, a sort of pigment here with blue and sepia. And the other one now detailing around the eyes. And the crease of the eyes and the eyelids. That 10n as well. Okay. Some of the details and the lips too. Like that. Maybe underneath that little more detail. Okay. And over do it. And get the eyes in. We're going to use some truly in blue. Just lie first and then we'll dock and more. And actually I'll thinking I might just add a highlight and later on, we can leave it in there like that and see how that goes. This one doesn't leave some little whitespaces in there like that. And I'm actually going to do the corners, the watts of the eye and make them be it Docker as well. But I'm just going to wait for that. The color of the eye, the eyes to dry and see if we can add in a little detail on the eyebrows. Just going to add a few strokes will grab ultramarine and sepia. Mix that together. Feed of dry brush like that. And then we'll just add a little bit more definition. Some lines. Individual sort of his That pupils and detailing on the EA. Okay. And I'll just try to do some detailing on the hair as well. It's trying to shape to face a bit more slowly. That will use a big brush. Carry that down more. And the neck. And I'm going to actually try to soften this a little bit and a bit more pigment here. But on the edges, try to stuffed in that. And there'll be more darkness in the neck as well. And I'm gonna go with just some dark areas and the hair. She's my small flat brush actually. Pick a blue maybe. Indications, dark areas. And also on the left-hand side, docker and face kinda helps to shape it. Soft in some areas. Okay. And I'm just going to get in some of the clothing might go with Nick was yellow carriage that that blend of it. And nostrils indicated a bit more. The times on the face of very subtle when you have to be just so careful. And Let's go with a beautiful sky with some pilots for the eyes and forgot to dark in that little area. The actual eyes coin is 20 meter read, especially near the corners of the eye. Docker in there. One on the right looks a bit better. Live decimal. Okay. And we're gonna go quiet dark with eyelashes Now. I'm going to really do this all at once. Okay? Going to enough paint on the brush, make sure that point is really, really points you in the end of the brush. And we'll go in these tan side. I want to feel too much. And K and can console the eye underneath the eyelashes. Like that. It's going to add up to form water. And for the background I'll just make it really.doc. Ultra marine, sepia. Then quickly, this help the subject stand out. Well blue here. Namely guy, very simple. Loose portrait.
8. Female Portrait: Black Hair: Okay, so this one here, we're a little bit closer up. And I'm going to be starting off with a flesh tone of a bit of red and a bit of hands, a yellow light. And there's less tonal variations in the face. The angle of the light is coming from top right and covering most of the face. Let's see, bit of yellow here. And actually, to be honest with you go over most the face. It's a mixture of yellow and red. Warm tone. To really pay attention to the colors all that much. To be honest. The more important thing is the actual values that you're representing. So whether area to their face or lighter or darker and portraiture is difficult because unless you pick a picture that's got really obvious contrasts a lot of the time. The tonal variations are just so subtle. So a lot of beginners find it difficult to pinpoint. Some of these variations in paint. The face is in the flesh tones all the same color. So taking too long, let's get through this whole area. This needs to go all the way underneath the neck as well. And I want to cool it down a bit as we get underneath and neck. Picking up some of the blue. Okay, blue. Alright. Let's add some bit of blue tones. Under the eye here. Just to wrap around the eye ball like that. And around the nose here. Tiny bit here. Here is shaping around the cheek bone as well. Coming in here, B and underneath the lip and joining into the chin here. So I'm really trying to get in a lot of these times went onto wet. Nice to be soft. And and so it is. Couple of these other areas here that's going to be soft and beautiful plankton there, taken taken out too much and this area has softened as well. And try to get some more red under there. I've taken out too much, but might be easier if I just use that as a bit of a highlight like that. Okay. Very difficult with this kind of Petco and it's not a 100% cotton. You've put all these interesting effects where you just can't really control when you end up having to work with it. But yeah, one of the good things with this paper is it forces you really to simplify the portrait down into just a couple of layers and not get too bogged down in all the little details. So I'm going to let that just dry off and do its thing. I've got some general times in areas that I'm happy with, except maybe the Sea area, we'll just add a bit more color in just a little bit. And this is going to draw interestingly side. So that's not really going to be so smooth. And see how we go. Now. Let's get in the hay, ultramarine blue and some sepia. But really most sepia is gonna mix quota.com. And let's go and actually little bit lots are, and I'll add in lots and things and dark areas, lights are on. That local area with a hey pots are very important to get that in. You know, even if you gotta be dry brush like doing this sort of thing. And when you are having using smooth pipe or it's difficult, can pick up a smaller brush and just do little bits of hair that go across the face like that for HD. Gonna cut around the IAEA. And on this side I'm just going to cut around the face very carefully. And the IEA. Okay. Like that. All the way down to the bottom of the page. And it's getting this side as well. Tiny bit just cutting across the EIA. Me just try to getting a few strands like that. Cutting around and shaping and defining the edge of the face. That and bringing that all the way down to the bottom as well. Okay. We've now here the face is o started drawing. I'm going to now go in and do some highlights. Can actually pick up a bit of this ultramarine blue. And it was bluish tone and the CPRs Well, can I just defined the eyes a bit more? Going pretty lot first. And you hold your brush closer to the point. We able to get a bit more control. Like that. Crease of the eye, which I'll get in. And the eyebrows, which I'm gonna do same way as I did before. This one's kind of able to see it, but just try. And define it a bit more lighter. You see if I can. Soft anatomy. Ok. Might actually leave that for now and I'll go back to it later. We'll do the ellipse now and pick up a bit of common. And just trumps that in like that. And it dark in this area. Tiny bit here, but it's very soft and just need to indicate it really like that. Around the edges of the lips as well. We're going to need to soften, but I want to just get into some more pigment here first. In the corners. Just soften the edge. Like that. Lips. This one here and a nice like that. This is kind of gone to the sides liftoff. No, I'm doing this because with the lips they normally don't just stick out of the face and have hard edges, they join on and they're quiet. Have quite soft edges. So it look a bit more realistic when you do it this way. The darkness underneath here. And was well, you kind of just shaping everything to n-k. I'm gonna get the eyes out the way. And that's some red in the corners. Or any bit, just a little bit of pink grad. Just watered down, just a warm colour. So we need to do. And when it dries, you hardly be able to tell that it's there. Or the corners. To TED because here, for example, some interesting indicating, indicating that nostrils and see if we can get in quick indication. Well, that's sine maybe joining on the software. Okay, so I'm going to hide is gonna grab a around. Get the mean lightly first. Because we can always change them and add more pigment if fit to lot audits to take it away once you've put in too much pigment. Just kinda model that pigment around, encourage it to settle. The sand release. Often that area lights are on. K detail for the lips. Lift out some paint now, let that dry off it. We beat underneath that appear as well. Dockets indicate some of the details in that IA. This one too. Okay. Eyebrows, dark and more. And he's my little brush. And shape them a bit as well. Machine tool the individual strands. Try to make them more or less symmetrical to make this one a little bit more. Now, find the top of this I hit. But to the end, just kind of fly it out to the side like this. Same for this one. Little beatings, one-on-one, one now, use. Okay. We're going to do is add in the eyelashes. Give you a quick draw first, pupils. The outer edges of the eyes. And told me to do the eyelashes and we'll just get it all in. One go. Hit ones on the list. Okay. This one's probably gone up a bit too far, but that's not too obvious. Kittens and Nostra is a bit more decay. And also going to do the math again, just the little line connecting the leaps. Cut soft in this part of the kink. Doc and under the neck probably is some cool Akerlof. And use that to shape the jaw line. Is good, soft in here that all dry. And in the meanwhile I'm going to do the back ground, sinking. Cooler color, bluish, gray, maybe, uh, try mixing a bit of pink to maybe purple. Change it up. We told me go back, pick up a bit of different paint. That ground needs to be pretty doc. Putting in some more purple and blue, especially down the sides at that all. Blend in and do its thing. While that's happening. Kinda add some details to the hair. Dark pigment. Draw that off. And some slides that this area is dark, is actually underneath here. That off this side. Something really close to the face just need to be, hey, that's being covered. And.
9. Female Portrait: Brown Hair: Okay, I'm going to start on the one on the left side. And we'll go in with some red mixed with the yellow again. And we'll actually get some more yellow coming in from the left-hand side of the face. Indicated a lot source originating from that direction, cutting around the eyes. K dot going up just a little bit. Now, coming around the eyes is usual. Here. That hearing, drawing that on and connect with the neck. Really now it's opportunity if you want to add in some other colors there on the islet, gone too far down and actually see if I can just lift off. Then we see here, well, that fading, blending, you know, get to the side slightly. Using more weeding wit and indicate the nostrils. These poses a little bit different where the model was looking downwards. Getting some of the closed, I want that to blend. The neck. Probably a bit too light for the one on the left-hand side. Well, blue. Okay. We'll get in. Now. Actually, any kid in a bit of color underneath the chin coming. And the king to indicating a bit of darkness that fade in its grab. Some brown. I'm going to mix up burnt sienna with some sepia. Okay. Try sort of messy. Hey, kinda kinda around the small brush to add in some strands and things coming off. We've gone down a bit to file with the hair and I'll just have to sort that out when we get to the background. Lighter. Moments, shorter hair style. So c i, we go lighter in the background using some dry brush strokes. Now. In some areas, the hair that K i's Sienna and Rwanda. So I've got the IAEA indicating the details and dark areas. K leaves emphasize this line as well. That define the nostrils upbeat mall. And I might just dark in here. Sure. The shadow underneath and knows, especially if she's looking downwards, soften the edges and defining these eyebrows now, picking up some dark pigment. Dark areas. And when the eyes, yet the pupils in and around the corners of the eyes, I'm kinda use some tuple BIN laden that just shape the I bit more shadowing, trying to get the eyelashes in now. But firstly, I want to soften the pupils. They just much eyelashes. Duck pate, blue in there. Actually. She's so good down and then up, exaggerate those big mall. And we do the same on this side. I always struggle with the ones on the left because you kinda having to especially if you're not left-handed. Okay, a bit more details in the eyebrows and in some Dhaka strands that and some areas in the math and just kind of dark and a bit more as well. Yeah. Alright, I'm happy with how that sort of looking launch. Just leave that. I think I'll put in a background for that.
10. Female Portrait: Side Portrait: Kinda joining some of the shadows already, but I wanna make the left side of the face a lot broader than the right side. So we'll start off with some yellow maybe mixed with some Naples, yellow as well. On the left side. Here, red in there. Okay. Yeah. And can you add over this side like that, blend into this read now, this is, I don't want that to happen. Cut around the eyes. Okay. All the way down. Like this. I want to soften these beat mole to read. A little bit more yellow in there. Just shifted around a bit. Okay, great. So now what I'm gonna do is add in little cooler color, cool down coloring anyway. To the rod side or the face. Underneath. Areas which is showing indications here. But totally silent. Down lift up. I go. Darkness around the nose. Mainly around this side. Needs to be B dagger to the chin. Okay. So you think this area is to be shooting more smaller brush? Okay. This is all dried off quite nicely. No, I'm gonna go in dark and certain areas in the lips. So for that I'm going to pick up just some red paint and go over the lips. Pink up the top. Really just a thin layer here. Coning with the fine round brush is a very small round brush. Just docking the heir of the lips. And as always, I'm going to soft in some of the edges to get enough painting. Their first can also add in some darker paint in the separation of the lips and down the bottom two. So for example here, we can get that bit in. Just blends a bit better and are soft and this edge bit of water. And some of these edges to this one needs to be softened. That. And you can start adding in some of the dark areas as well. Ultramarine makes space, some sepia. And can it be that nostril underneath and nice. Talk on that in a little bit ahead in some of the eyebrows. And underneath the eyebrows have color first and then I'll go over it again. She goes up a bit. And over in this side. The same thing. That taper it off at the end. Okay. Bank there, which I'm going to try it. And if Dad but it's actually not too big of a deal, is dark and the area underneath as well, like peace. Just pick up a bit of that paint. A bit of a bluish hue. Going around like that and soften those edges. K. And it just details the eyes a bit more. Ok. So this needs to carry on a bit further. Soften. Detail. The other eye a little bit of bluish hue. And then these are the ion and go for the eyelid. Now, notice that I'm holding the brush very close to the end. Almost lucky drawing. Very much. Paint up that one, but no big deal. Okay. And again, in some color now for the eyes, go with the beauty of green on something. Just drop in a teeny bit of certainly in blue. Outline. The lips again. And then it'll be much older. And his brush. Okay, and start adding some of the eyebrows. Smaller brush, just some strands going this direction. Same at this side. And a Monaco route again a second time around. And this needs to be detailed and little more read. And some of these edges, k is somebody, Hey, now I'm gonna grab some of that in like that. Or maybe lotsa and Naples Yellow and on this side. And I want it to have this sort of effect was kind of dry brush effect. Going with the second round later on. Strands coming across there. And we'll get the siding like that. And so the eyes. And I'm gonna grab some darker pigment, true moraine. And then CNO again. And we're going to do the eyelashes. Right. Now this side. Looking for some areas to add a little bit more detail in. Autos, emphasize all line just a bit over this side. Bigger brush and cool paint. This Don't, couldn't actually see if I can blend the scene to the background here. And let's try something that I'm going to pick up some blue. So we've got a soft edge here and a hard edge around the side. Adding some how the colors get a bit of purple in there as well. Cut around the face. This is, we're going to be tricky. Blue kinda ran some darkness on this. I can do is just add a little bit more detail into the hay. Dry brush it on. Just wait for this to dry first. Just gonna darken up suddenly eyelashes or eyebrows fixed gently onto the background of this area. Often. Just try to do my little area here, clothing and pointing. And that looks finished.
11. Portraits: Finishing Touches: Okay, now that everything's dried, I loved to go through and just try to see if we can touch up bits and pieces or change things around just to add the finishing touches. A lot of artists do this at the end of their work. So sometimes when you get a view of everything after it's, you know, you've had some time to step away. Being able to see what beats you might want to change, or I guess we're fine. So one of the things I've noticed is just the eyebrows that you want to define them a bit more on the top two and maybe add a bit more detail. But let's see how we go. So for this one, I'm actually going to dock the eyes beat mall with some round paint. Just kind of go in there. And other one is well, okay. All right. Another thing is the lips. I've put them a bit to lower here. In fact, they should be higher up and it's probably too late to change things now, but, uh, might be able to shift the nose just a little bit lower and then the lips up. Let's give it a try. Just softening nostrils and a little bit left out. Soft in there, little bit k. And then c with the lips there. I can just move that a little bit. Just change this line. That it goes up a bit more. And that's soft in this area. Red again and a darker pigment at the bottom. And I'm going to wait for this to dry off a little bit. And I can add the plotting, the lips. Come here. So often that edge, if I had a quick dry, define this more like that. And that. And it looks a little bit data. And I think it looks a little bit better than it was before anyway, a little bit more proportionate. Is that a bit? And especially the edges and maybe get some had just come in across. And here oil going behind the more detail on the hair. Same goes for the side. Just to be dark. And draw that off. Yes. Okay. Sloppy Dhaka strands on the top as well. And I browse. I'm going to read, do a little bit. Thinking also, adding a bit of a highlights on the lips. So if you just get a, a wet brush, dry it off first. Can do this. Lift off a teeny bit of paint that you can also use squash that works to add in a little highlight here. The bottom lip keeps things interesting. The nose is, well, I've put a little highlight here and just do extent up. Be it. And the cheek. Indicator, small highlight here. Chin. Yeah. I'm gonna strengthen these eyelashes. A lot more. Ultramarine blue and sepia mix together. Hold the brush very close to the tip and just try to get the eyelash, eyebrows and first Dhaka. The other one. The eyes can just kinda like that. Oops. Okay. Well, the dark areas of the hair. And let's have a look at this one here. And whether I want to change anything up or not. I think I'll just, again, I'll dock in the eyebrows a bit. So mixing up some ultramarine and sepia as thick as you can get it. Okay. Let's see if I can get in. Okay. Okay. One over, do it. Okay. He's increase on the eyelid just stronger. Underneath the I'll just indicate a bit and a little line here as well. To much. All laws. I think that one is looking pretty good. Okay. Moving on to the disease to pretty happy with this one. And then you might wanna do is just adding some Dhaka strands of hair here and there. That kind of wavy, Hey, and we don't want to leave the background. Color defined fine to disease and little bit more often had that Troy lining. And also there may be the shirt here. Just in a bit darker than that. I don't feel like I need to change anything in that. Straight Paint. Yeah. And this one won't add some dark has strands of hair. I crease here. Blend that a bit more in the background. Some areas the hair looks to shop. Even hear often that all down. Just define that here a bit more. Other than that, I feel like I need to change much as well with this one, maybe just indicate the pupils more. And whitewash helps. If you want to add a small highlights in the eyes. So I'm just going to grab a teeny bit of wash like this straight from the tube, which we start with this one. And the one on the left here is already a highlight. Just emphasize that a bit more. While I like that. See if I can lift off a tiny bit of paint here. Can indicate a lot of area. The nose. And same thing for these two. You can do this with Guassian as well. And I'm just going to leave it as that.