Transcripts
1. Introduction: Hi and welcome to easy
watercolor portrait painting. Portrait painting
is challenging for both beginners and
advanced payments. By the end of this class, you'll be able to easily to any photograph into a
realistic portrait, learn my portrait painting
process and show off your vibrant portraits to the surprise of your
friends and family. In this class, we'll
focus mainly on how you can use the
greeting technique to create accurate
portrait drawings that will form a strong foundation
for your paintings. I'm going to simplify the portrait painting
process for you by showing you my two-step process in painting a
watercolor portrait, go through how to keep
colors fresh and vibrant. We'll talk about sketching, and we'll paint four
different portraits based on four reference photos. Will go through the greeting
technique to transfer a photo of a portrait
onto watercolor paper. We'll also talk about
how to draw faces and portraits from a
reference photo freehand. We'll go through how
to paint subjects in various poses and
lighting conditions. Had to lay a paints to
add color and details. And also how to use essential watercolor
techniques in the context of portraiture, such as wedding,
wet and wet on dry. I'm going to talk
about how to determine a light source and the correct use of
values and painting, which is very important
when we're talking about flesh tones and getting in
very soft shadows on the face. I'll also be going
through essential paints, paper brushes, and drawing
materials that you need. This is a feature pack
class and I've included many demonstrations
to provide you more opportunities to learn how to paint different subjects. If you're ready to boost
your portraiture skills, joined me in this class
and let's get painting.
2. Instructions & Materials: I want to go through some
really basic instructions on how to navigate through this class and what
I'll be covering. Firstly, a really brief rundown of the three
methods that you can use to transfer drawing
over onto watercolor paper. Now the drawings are
very essential part of your portrait
because essentially that is going to
be your guideline. That's gonna be the, the
foundation of your paintings. So in order to attain a
likeness of your subject, you really need to spend as much time as you
feel necessary in order to get the facial
features and details correctly. So there's three ways
that you can do this. And I go through, each of these methods, will
go through two of them. The first method is a little bit more straightforward,
It's just tracing. So in the project references, you'll be able to
find stencils of the paintings and the
reference photos that I use in this class. You can of course, just
trace if you go to Lightbox. That makes it a lot easier. What you can do as well is that you can go
up into a window. You can put your reference photo behind your paper and trace. If you've got a favorite of light coming through the window, it's probably a little
bit easiest if you've got carbon paper as well that allows you to transfer
a reference photo over. Of course, that means
that you need to print out that photograph first. That's going to get
your pretty good image that transfers over. However, it's not
going to teach you how to draw a portrait. So in order to do that, this is two other
ways that you can transfer a reference
over in his class. I go mainly through
the grieving process, which saves a lot of time. Basically. I'll talk a bit about it in a future video that's coming up. But basically it
involves using a grid, a grid over your paper,
and just drawing, transferring the details
over from each grid that were overlapping with
our reference photo as well. The third way is through
freehand sketching. And this takes a lot of practice and a lot of skill which
just takes time to develop. So I go through some of my basic tips on how
to sketch a face, how to place basic details. But you'll be able to see
in each demonstration, I do give you examples for each portrait on how to proceed. So I think this will
give you a lot of practice and I guess
opportunities, choices to decide which way
you want to go through. You can always sketch
each portrait free hand. However, I have made
this class a little bit easier that as a beginner, the active transferring over
the process of transferring wherever a reference photo
is less daunting for you. And we can focus a little bit more on the actual
painting itself. With that said, I'm going to go through a bit of materials, what I'll be using
in this class. And that will give you an
indication of what to buy. Or if you have some
materials at home, which ones will be
more suitable based on what kind of result
you'd like to achieve. Here you can see I've got six paintings and I'll talk
a bit about paper first. So the paper for these
top three paintings, it's kind of difficult
to see at the moment, but they are done on
a hot press paper. Hot press paper or
smooth paper is basically watercolor paper which has been completely flattened. So there's no texture. I barely any texture. There's some brands. Do you have a very
slight texture on it? And what this allows is
it allows you to get maximum contrast in terms of the darks and the lights that they'd certainly peer
lighter and darker. Lot more vibrancy is where
we see with the colors. They just shoot through
a lot more violently because what happens
is that the, the paint tends to sit a
little bit more on top of the surface of the
paper, works very well. The only thing where
you can run into issues is when you are layering, when you're putting colors
on top of other colors, it can upset that
previous layer. You can get some funny
blooms, that kind of thing. I do find hot press paper
is a lot less forgiving than if you're using cold press paper or
even rough paper. I wouldn't suggest
using rough paper. Cold press paper though, for beginners, I think is
a good starting point. And that's where I'm bringing up these three portraits here, which are also done
on cold press paper. They have decent sort
of texture to it. It's medium texture, cold press, cold, different things
in different places. But basically that paper
will take a little bit longer to dry when
you apply a wash, you can layer without
that previous layer coming out as easily as
in the hot press paper. And you get some smoother
transitions as well. I do use both. These days. I prefer to use hot press now that I'm a little more
comfortable with it, I just loved the, the contrast and the crispness that you can get with
the hot pressed paper. But it's a personal choice. I'll talk a bit about
paints and palate now. Over here I've got
myself a large pallet. Fifth you collision here. But for this class you
wouldn't really need a whole lot of colors. Basically, you got Hansa yellow. I've got a bit of yellow ocher, bit of perylene, orange. I've got a bit of
quinacridone, burnt orange. I've got a bit of perylene
Scarlett here as well. Over here I've got a little
bit of buff titanium. These colors I tend
to mix together, often a bit of perylene scholar with
yellow ocher in order to form a flesh tone
mixed with a bit of this buff titanium over here. In terms of the darker colors, sometimes I do use
some browns here depending on the color
over the person's hair. I have some mutual tint
over here as well, which are really good to get in some darker
hair, is well, and the neutral tint is
great if you want to add a little bit in with some
of the flesh tone color to mix up some slightly
darker areas of skin tone which
can indicate shadows. Softer shadows are darker
shadows running across the face under the NIC,
that sort of thing. That neutral tip would
just darken up that makes a little bit without adding in a completely different color. That's going to change
the composition. That's my palette. As you see, there's
not a whole lot of colors in here that I
actually tend to use. Some of these other
colors here at good for eye colors or maybe
some other hair colors also backgrounds
which work very well. I tend to use a bit of blue and stuff in the background as well, and some browns. But I think it's more important that we're focusing
a bit more and light and dark tones
to draw contrast. Colors are not hugely important, but the flesh tones try
to keep those in mind. Have a good sort of assortment of these
flesh tone colors. Sometimes it's a bit
difficult to mix and match. I do have, especially for
darker skin tones as well. I do have some of these browns
here at the bottom here. Gf thought of goods,
some burnt umber, also going to be the ultramarine blue and a bit of
undersea green. Surprisingly, some of
these mixed together can form some daka, daka skin tones as well, which look quite interesting. So I'll put that away. That's about all I
wanted to talk about for my palette and the color. These are some of the
brushes that I'll be using. In fact, I wouldn't be
using all of these. I'll just pick out
the ones that I will most likely use in
most of my paintings. I would go through and just
pick out a few of them. I would say potentially
these ones here. We've got these variety here, which are basically
watercolor brushes. They're great for getting in
large washes backgrounds, getting in the initial, initial flesh tones
on the face if you go to large area covered
like that and it just makes a nice smooth wash. Without ultimate false, you don't have to keep going
back to the pellet, picking up more
paint, going back, get it all done in one go. If you mixing with
these brushes, well, you tend to mix a
larger pool of paint which will last you
for a bit longer. These two brushes are
pretty much the same. They're just a
little bit smaller. So depending on
how small the face that you're actually painting, sometimes you certainly need
to reduce the size of that. So for example, I'm
not gonna go into this portrait with these
brushes just to lodge, I'll have to use
something like B. So these otherwise, I
will make a mistake. That's what those
four over here. I have a bunch of flat brushes. Flat brushes. Really good for cutting
around and also implying little strands of hairs coming
down the face like this. Especially if I dry that brush off a bit
and just drag it down, hey, you can get some textures. The great thing about
these brushes as well is, like I said, for backgrounds, you can really use
them to cut around the figures are the people. Basically without
upsetting too much of that previous wash. And it's good to allow
positive it to mixed. But I do like using these as well as an
alternative to this. These watercolor mop brushes
to get in large washes. We've talked about flat brushes. Over here. I have some round brushes
and round brushes. Just really good for detailing. Now, I've got a
larger round brush, which is a number
ten, I believe. Yes, number ten, which
you can also use for a general wash
for larger areas, we saw probably grouped this a bit more into the
mop brush section. But these smaller
brushes here are great for indications like the
padding between the lips. If we've got eyelashes, we've got part of the eye, we've got bits of the eyebrows. So it's really
going to allow you to detail more effectively. You're not gonna be able
to get that much detail. For example, you going
with these brushes. No way, it's just too a clumsy. These here are a couple
of specialty brushes. This is a filbert brush and you can see here
it's got a kind of almost looks
like a flat brush, but it's being typing
in on the edges. And this is great
for blending edges. And this here is a fan
brush which is really good also to get in some little
strands of hair textures. So all in all, you don't need all
these brushes really, if I was to pick
pick three brushes, I'd go with this one. And I would go with
let's have a look here. Probably one of
the flat brushes, smaller flat brush, and then a smaller round brush like that. So really you can do
most of the flesh tones, lot of the hair with Devon. You can get in some
of the details of the hair with the with the with a flat brush and even these little brush
here, little round brush. And the rest of the
details you can certainly getting with these smaller
round brushes as well. But you do need these
larger ones and getting those first initial washes. That's all I'll talk about. Intensive brushes. Fantastic. So that's all
that we're going to be needing in terms of materials. But if you're still unsure, please feel free to reach out.
3. Introduction To Gridding: In this video, I just
want to go through really short
demonstration and some instructions on how you can
use the greeting technique. Now, a lot of people use
programs that allow you to apply a grid on top of
an existing photograph. Now, you don't have to have
one of these programs. Is many of them available
for free over the internet. But as you can see
on the overlay of the top right-hand corner, I've just added a four-by-four
grid on top of this image. And here on my paper, I've also added a same
four by four grid. Now it doesn't matter how large or how small these squares are. Really just depends
on your preference, how large you want that
image transfer wherever. If you've got two
logic of the paper, I'd suggest making that
grid a bit larger. Otherwise you're going
to have a really small, small image in here might
look a bit out of place, just depends on what you want. But basically what we're going
to do is that instead of trying to draw the
entire face straight, straight all at once, well, I'm going to do is just try to draw each individual square. For a, the sake of example, I might start here with the bottom right-hand
corner square. You can see it's the square
just below and not below, but just next to her chin. In case we might even
start here with the chin. We know that it comes in
like that can really simple. Another beta becomes
unlike about here. Then we know that it comes up through the grid
and we want to look, especially at where the
lines intersect the grid. So you can see that part of a chin here that comes up
into the side of a drawer, intersects that grid
about maybe a third, almost a quarter of
the way through. And then it comes up
like in here and then exits out random at here, again, about two-thirds of
the way through this grid. And it comes up,
curves up in here. We're doing the side of a face. Same for this one. This one
goes into the side like that. We're just looking at what's
in each part of the grid. And funny enough, this
also helps you to estimate proportions as well. Even without the grid,
I have found that it's improved my drawing
skills and fair bit. Because I start to
then try to draw imaginary lines through
the face and measure, just get a bit
better at measuring the distance between
features like the eyes within those
lines up on certain, certain sections of the eye
like the iris of the pupils, the distance between
the nose and the mouth. So you start noticing
some of these things. I think it's a
good, especially if you're trying to understand how to get in a reference
picture very quickly, still learn a few
drawing skills. I think this is a good place
to start off as a beginner. You put a bit of an ear
coming in like that and I think she's got some
kind of an earring here. A lot of this is just hair. You can see just coming out
at the back here in a NYC. Coming down through the middle
of the screen like that. You can even just start
drawing and her mouth, which is like here. This is very, very simple obviously
because I'm not an old trying to getting a bunch of detail in this
little illustration, but you can see how you
using that grid as a bit of a bit of a guide
to learn how to play. So at least features. Then you know that the
mouth isn't too wide, starts and ends about here. Then you can go in with a nose. We will put them knows about
all the noise around here. Not true here and those true
perhaps here like that. And then I realized I put
that in Austria a little bit more to the left so I can just shift it a bit to
the right like that. Shift that nostril a bit. There's a few
different, certainly a few different things
that you can learn. So during that, there we go, Good of the nose and now we can put in a bit
of the eye here as well and see how I've gone
too far up with the eye. That eye is only going
about a third of the way through that grid,
stops about here. It kind of helps limit you. Put the I in and put
the details in of the features in because
we've portraiture. If you try to aim for accuracy, millimeter can make
a big difference. Little bit of detail
there for the eye. And we can color in
the eye like this. Be the hair coming down
like this as well. Getting there and
then the eyebrow, Of course it's just running
across or any Christie I disappearing off there
like that somewhere. Instead, we'll look
at this left-hand. I know we can see
that it crosses through the grid
about a third of the way through,
down to the bottom, comes down to a little corner
of the eye there comes out finishes the
eye finishes about, say, almost halfway
through that grid. Allude to the right. Then coming down like this. Then we've got a bit of the
sides or the detail for that I will be the eyelid
here as well. Then I can just draw in
the sum of the eyebrow. Of course, just
running through that. And again, we can sort of estimate where we want to start. And in that eyebrows, do Fock. Use the grid to help you estimate goes around
about halfway, I just over halfway
through that grid there. Rest of it is, becomes
a little bit easier now that we've got
significant amount of the facial features in really it's just looking at her hair where it forms the boundary. For a face that kind of
boundaries were phase. You can see a bit
of hair running through there like this. And notice they're always worried cuts through
the grid which pods of the boxes like that and it's about a halfway
through like that. Coming through here,
coming over to a mouth. There is another strand of
hair coming through here, running through the center here, coming through and going over the top of the nose like that. Running to the left. Like that. A lot of that is
in sunlight as you can see, but then you can just again, shade away and darken like this. Well, bit of hair coming
down here as well. And then to the right-hand side, and then it just
disappears off the scene. I mean, I think there's probably a bit of a shoulder here or
something like that, but it's hard to see. But I think that
gives you a gist of how to use this technique. I'm going to go through it in a lot more detail
and with more time, especially in the actual
reference photos coming up. But this is a little
crash course. And what you find
as well is that you can also use this to then transfer over to a second
degree to the left, which might make it a
bit easier for you. If you're happy with
that first one. Sometimes if you want
to do two references, or even if you just want to draw a box without any grids and just challenge yourself
and start drawing the features and compare
it to the grid version. That's really going
to help you out. Sometimes when you're
drawing straight from a computer screen
and you're looking directly at a screen, the perspectives, perspectives
can be distorted in your mind when you see it
flat on paper like this. And suddenly a lot
easier to estimate the distances translated
over onto the paper. And she's at a different angle.
4. Pencil Sketching: Side Face: In this video, I'm gonna be showing you how to sketch faces. I'll be showing you just
how I divide up a face into a few different guidelines and essentially try to get it
in as accurately as I can. So this is going
to help you draw. There are a few
different ways that you can transfer an image
onto the paper. You can trace, you can
use the greeting method. You can use general
guidelines and sketching like I'm doing now. So I'll go through
this section and we'll use this reference
picture to start off with. One of the things
you'll notice is that the face is slightly
turned to the right. Okay. So you can almost see more of the jaw to the
left-hand side and the right. We're going to worry too much about that for the time being. What we'll do is I will
start with a circle, a quick circle for
the head like that. And then what I'm gonna do
is I'm going to just try to put in little
elements of the jaw. We know the chins
around about here. And then it goes up that side
of the face to the right. The Georgia sort of goes all around to the
side of the head. That's the left. And then you've got the chin
here on the bottom rot. Your head's turned a little bit towards, towards the rocket. Now that we've got that in, what I want to do is draw a line just running halfway
down the entire head. So the top to the bottom, we're looking at that
line down the center. I'm just going to draw it, kind of basically just going to draw it right down
the center like this. That is in essence the eyeline. Where are we going
to put the eyes of the person I'd like to do and
the eyes first and I find that it's just a section where it's probably one of the easiest parts to start
off within the face. Now we can go and put in a
general corners of the eyes. I'm just trying to mock out
where they start and finish. The face. If we divide
it down the center, I kind of like VCE. Look. The lips. The face is through, turned a little bit to the right-hand side
as well we can see. So that's why I'm trying to
just get a little bit of a line running down the center of almost curve towards
that right-hand side. Just remembering to turn
those eyes a little bit, a little bit more to the right. We can put in here. Of course, the eye to the left. We're going to have to
estimate it all because we've got her hair coming in and we can always drawing
the boundary of the hair. We know that it starts
roughly around here, cuts through her face. We don't have to get it
to accurately begin with, but just a little indication of where the hair starts like that. So that we know where
essentially stop placing the eyes and we
know this side of her hair comes in and frame. So face here on that
right-hand side, limit to go very lightly
at this stage because you don't want to really lock in any position just yet because we're only
just trying to get in a basic indication
of where everything is. So let's put that in now. A cheek is actually a bit
larger here on this side. Isn't EMF is a little
outward outward section coming up like that. It's just on her
face. All right. So now we can just have
a look at the eyes. We know that based on her hair, we've got an AI at the
edge of her eye there. And then perhaps we
can just guess it's starts and finishes here and then go to the
other eye here. Let's have a look. And then we've got it finishing roughly around the age he is. So we can go ahead and put in the sort of shape of
her eyes and they kind of almond like
coming down like that. Okay. Just a little
indication of where you want the eyes to be, okay, we don't even need
to draw in much detail. And when you think we're just trying to place
the eyes in there, we've got a little
basic indication and the center of the eyes, you find that it's normally about one eye width from this
center part here to here. Actually, I think they're probably a little,
a little true. Slightly too far apart, so I can bring that a
little closer like this. Remember, you can always and always go ahead and
change things around. Slightly, I think that
looks a little better. Another little tool that I
use as well is a cotton bud. And the cotton bud is a great little tool,
tool to smudge. And smudging is a little
method of creating some shadows and indications
of light and dark. And I tend to use this when
we're indicating the nose. Nose runs straight
through the center, through the middle of
the r's obviously, but it can be tricky
to kind of place it. So we can have a look at the eye and we know
that there's a line for that bridge of the nose is coming down like
that and then it just goes up like that. Just goes up. And let's divide this section, the face again into half. So just underneath the eye. If I just divide the face from underneath the eye to the chin into roughly half. Again. We're going to get the
bottom of the nose roughly. Now, in this person, this model, you find that nose is actually
a little bit further, more further down
than it actually is. Not really on this halfway point between the bottom of
the eye and the chin. I'm just a little bit further
down the halfway point. Everyone's face is gonna be different and it can be tricky to figure out exactly
where all the the, I guess the details
won't have you. But this is a way to sort
of how I figure it out. So we'd go in and
look at the nostril. The nostril, if we
draw a line going up, it goes up and hits
the edge of her. I almost the edge of the odd but it's not exactly
on the edge. It's close, but not, not really on there. That's the indication
of that nostril. And then again here we have
this is the top of the nose, the front part of the
bridge of the nose. And of course, that
little corner there. I'm just going to put in a little bit of shading
on the corner there. And then we'll look
at this left nostril. And that left nostril is
almost around here looking up. And it finishes not
on the corner of y, but almost on the edge
of the corner of eyes. So I'll just put that in just a little
indication like that. Using markers, really. Essentially just other parts of a face to getting
the other details, which is why it's
important to do those initial marks and lines
and stuff like that first, the guiding lines
because that's going to help us negating these other
features more accurately. So we've got that nosing. Another thing I'll probably
want to do is just drag this nostril bit
better like that. You've got more time to
do this later on as well. But again, if we
divide this area beneath the nose
and the chin again, just into half,
I'm going to draw the bottom of the lip,
roughly bad here. The parting of ellipse, say about here at
the top of the lip. Random and then we've got the
bit underneath a nose here. We can start already putting in some small details
like on here, that could be the edge of this, could be the edge of the lip
kind of coming in there and that side coming in, that core team of ellipse
as well like this. We bring that down a
little more like this. Like that. Then the top of her lip. Of course, just connecting that up a little
bit more like that. Again, I do tend to prefer using little cotton bud at times to get the
outlines of the lips in. It just makes it
a little softer, easier to just sort of putting we've got a rough
location of her lips now. And in this section. And really from here RNA, it's just putting in the rest of the details and
we've got some eyes. He or she is looking
a little to the left. And it came as a bit of light
reflected in there as well. So just shade in a bit
of the eyes like that. And also getting now I leads to this and then the other
one to be like that. Then our eyebrows. And we stopped just above knows, like these kind of go way
up into the edge there. And we do the same thing here. The eyebrows going over
to the left-hand side. We can start defining
the drawer a little bit more that you hear. A lot of that is
done actually later. We don't need to worry. I really much about that yet. Sometimes I do like to put
in some of the details of the eye before I go
in with the paint. So if the person is wearing some eyeliner or there's just a little bit more
darkness in there. I tend to try to imply a little bit of that
before I actually go in. Going later on with the
paints as even a bit of these lines coming out from over knows that join
up underneath like that. That's something that
you can you can work on. But the neck as well kind of comes down
around a bit here, is some softness there and
the neck and a bit of detail. Again, we're just sort
of trying to place the hair so that it kind of
cuts over parts of her face. Just like in the reference. But we want to leave a lot of these later for the
extra width, height. It's more just looking at
where the boundaries of the hair and the background and indicating that
as I'm doing here, pay remote want to
bring the hill all the way down the
bottom like that. And these sort of a hair
kind of goes all the way across the back and
then further down. Like this. This sort of bitter head
comes all the way across. And there's a bit here, they sort of flows across. The front of her outfit. Draw a bit of that, little
bit of that in like that. Just the finishing off, the point of a neck here. I mean, this is all just
hair coming down there. Of course. I mean, not spend probably
a bit more time at drawing this out if I was doing
the actual portrait, but this gives you a little, I guess that base
indication of where I start and how I sort of measure out bits and pieces of features and
things for a portrait. But this will usually be
cognitive and will be dark, and the hair will be darker. Years will coming across.
5. Pencil Sketching: Front Face: One of the goal
in this portrait, we're gonna make the face. This is saws and leave a little bit for the hair and what have you on the side? Bottom of the chin, I'll put here the
top of the head. I'll put it roughly around
here and so on so that the head here and perhaps here. That looks like it. Chin goes up like that. On the science fat. Connect these up
here on the sides. Sort of goes straight up
all the way up the top of your head where the hair
pretty much just starts off. Here. There's a bit of kind of
coming over the top like that. And just branches comes
all the way down here, whereas it finish
off roughly here. Let me just quickly putting a little indication of
where everything is. We go. Here's some of her
head on the base side. We're just going
to have some kinda just going across
a face like this. Now I'm going to just divide a hidden to the halfway
point it out. To get an Ising. Maybe you have an I here. I could write to the
longest side of a head. Is a nose here. In the hair actually comes
in more sort of cuts across, comes across the face a bit, and then comes out like that. Good shape eyes. Now, the main thing is just to make sure you've got enough space and they're
normally it's about one eye. It depending on the person. I'm just going to
keep it simple. Loosely. Based on the reference. There. I sort of ducks behind
that bit of hair there. I sort of go to this point. So some come downwards
in the corners, come down like this, and then they go up like that. Sort of shape of a horizon. Anyhow said, we're
getting to the iris and the pupils and he used
this one is in shadow. Something like that. Good. It looks like they're awesome. On lashes and things
are just the eyelid is that I browse here. And whereas the other
one perhaps here. Actually darkness around
that sort of a nose. Here. Separate this section
between the bottom of her eyes and achieved by
roughly half like that. And we can just sort
of pinpoint and nose tip of the nose. And then I'm just
going to draw in the nostrils coming
off the sides. Getting a bit of shading
in here as well. Nostrils here. Just going to do a little, it's just a bit of shading
around and Austria, not shrews and the
sides of a nose to give an indication of
the bridge of her nose, which is the center part
there which I haven't covered in darkness around that I'm just looking for some shadows and things that I might be able to
emphasize a little. I'm using the pencil tool. In some shadow as well, exaggerating a little
bit more than usual, even just on the
nose here I'm gonna get in a shadow day
that's connecting on the mouth again underneath
the nose to the chin. I'm going to separate that
to my halfway like this. That will be the bottom
of the lip, roughly here. Then in the middle, we're going to have a
mouth which actually goes, this one goes almost to the
edge of the iris there and this one goes around to
the pupil like here. I'm just going to
draw in that little, little guiding line
ellipse like that. Now it's closed,
no teeth to draw, so that makes it a
lot easier as well. Bottom of her lip like this. Just a little indication
of that and then the top. Really just a quick
thing like that. You have to do it in waiting
with watercolors later. Even underneath here is that
little area above her lip, which is a slightly dark. I get rid of some of
these darkness and he just too much movement
to be around here. I said top lip, just a little darkness. Rounding a top lip like that, smudge it off a
little bottom one. I'm coming around notching
around the soma day like that. Good, good bit of darkness here. This is going to
create kind of like a shadow on that left-hand
side of the face. An exaggerated shadow
pattern much more than the actual reference implies. Unthinking would be nice to just exaggerate it to
see what happens. I do like to smudge as well just to even out the
tone in the air so that the pencil marks
don't show through to obviously. That's a chin. Putting a little bit
of indication for her. The middle part of the eye, the pupil, something like that. They're excellent. Eyelashes and you
won't have you, but I'll leave that later on. Just some little indications
for actual eyes. Nostrils. Happy with that one
on the left side. Just as we do that. Let's have a look at her ear. The ear starts just on
the bottom of the nose. I'm just going to bring
that up like this, disappears off and
there's a bit of darkness in that year like that. Kind of comes out all
the way above here, chins like certain
Next around here. Not as wide as her
actual jaw which goes all the way out
to roughly that point. Comes in neck, the shit like this sort
of goes all the way. Neck comes out. Kind of a shirt just
comes all the way around in this pattern. Just the shoulders further
down, slightly wider. And that should do should do. Nothing I want to
do is just quickly outline at the bottom of
her hair here as well, just the basic shape of it. I'm going to make sure it
goes around to the back, the back of their neck here is going to be
an important section. This sort of cuts
around her, around, sort of cuts around
her, her face a bit. Hand underneath this ear Section. Important to get a rough edge to where her hair is as well. To simplify things down if
you can see what I mean. It's kind of like a
Janeiro for sort of form. That goes around full day. Of course it's not exactly like this as bits
and pieces sticking out. It makes it a little
easier to draw if we do it this way. Later on. I'm just going to round
off her chin a little bit interesting because it is
squares at the bottom. Just round that off.
6. Portrait Sketch: Ballerina: Okay, so we're going to do
this sketch of a ballerina. And I'm just putting in the
torso here at the moment. And the arms sort
of extending out. Going over to the
top of the page. The general sort of pose
there with the torso. I'm just going to go ahead
and get heading as well. You can see the top is
rounder than the bottom. Kind of comes in to form a jaw and mocking at some
of the figures halfway through the
head for the eyes, perhaps a bit of hair
as well, the eyebrows, bit of the shoulder connecting
onto the back of her arm and also just some
some clothes as well. So just the top
just trying to get the arms and you start out as light as you can and then just start fleshing the details. Notice also the hand. I've just used a kind of overly
shape with a pointed end. I'm going to use that
same technique again to get in that other handy
here to the left. It's kind of like the thumb
sticking out at the bottom. Then the other four fingers
extended out over the top. And I'm just trying to get in
a little bit more detail on the facial facial
area of the figure. What I'm gonna do,
I'm just going to bring that further down. The torso and to dress, which just comes out in
this round, circular shape. Like that. She's sort of leaning
forwards with one foot out, butt back as you can see. The other leg. We've got her shoe as well. At the bottom there. It looks like we're ready to get
started with the painting. Essentially what I'm going to
do is work a little bit on the flesh tones and
especially the face, mix up a bit of red
and a bit of yellow. I tend to use some powerline, read a little bit
of yellow ocher. And I do also have
some buff titanium, which is a white, kind of an off white
which I use as well. And I'm just putting a real basic codes over face, neck. If I go outside the
lines slightly, It's not a big deal
because we're going to go around the entire figure with a slightly darker color. We just want to get in very, very light sort of
turn like that. While the paint's still wet. This is where I drop in some
little bits of darkness to create shadows on the
left-hand side of the figure. Little bit of color
into the dress as well. I didn't want it
to be completely white and of course her leg and it's coming out
towards the front as well. I've picked up some
neutral tint and I'm just putting in a
little bit of her top. I might have added some
purple in there as well, giving that a quick dry. And what this is going
to do is allow me to essentially cut around
the figure a little bit. Getting some of the
background details later. When you've got a wet
edge and you try to get in a dark color in
the background, you have to be very careful. Can mix into the body and you lose that
figure in the mix. I'm just adding in a little bit of shadow on the left side
and areas of the body. Detailing it a
little bit more on the left to give it
some dimensionality. Picking up bit of
ultramarine blue here. And using a larger flat brush, It's a three-quarter inch
flat brush that I'm using. I'm just using this now to cut around address and
also her body. And in some areas I'm letting it mixed into the dress as well. This is that little cutting
around work that's important, like I was mentioning before, if we're using dark
color in the background, any kind of color really, we don't want it to be
merging into her body. This is just a little
bit of cutting around work which which helps, especially if that
previous layer is dry it otherwise it
will just disappear underneath and you will lose
that cutting around the ear. And again here I can shape
the neck a bit more. Notice how I've actually gone out of the
lines with the neck. The pencil lines in it had
appeared a bit funny before, but now we can just go over the top with this darker paint. And it's fixed. Because you do get another
opportunity to shape the features and the arms
and the legs and torso, anything like that, really even the clothing
and the boundaries. Anything that forms a boundary
between the background. Again, trying to preserve
that lots of color of her dress and cut
around her leg. Again like that. Just getting in a indication
of a cough like that. Little bit of color running
through this scene. A little bit up in the
background as well, or just trying to
add in a few kind of directional lines as if
she's standing in a room, a door or something in
the in the background. Just so that it looks a bit more interesting so that there's some sharp shapes that kind of running more obvious sort
of lines and directions, perhaps a bit of
perspective there as well. Those help can be indicated here on the
ground is some kind of some kind of tiles or something that she
might be standing on area. Pretty simple. Not too obvious in terms of
the details of the room, but just gives a bit more
context and interest. We're gonna do some
finishing touches now I'm just picking up some final pretty
dark colors and I'm going over her body to get in a little bit of the top here. Now that the other
layer has dried, we can go ahead and do this. Also putting some final
shadows on that left side of her leg and parts
of a body as well. Blending and move water in there as well to
loosen things up. Little bit of hair is bundled
up and I'll be tied behind. So it's not too visible. Just putting on some really
basic indications for her for the facial details. Not much at all. Just a couple of a couple of bits and pieces for the eyes, the nose, and the mouth.
7. Portrait Sketch: Smiling Woman: Okay, so we're going to go
in firstly with the drawing. That's really important
to make sure that you start with really
simple markers. I tend to start with
the sides of the head, the chin, the general
top part of the head. Just by drawing a
round circle shape on the top of the head and then
bring the jaw down as well. Draw a line halfway
through the center of the face and that
indicates the eyes. I'm going ahead and
just drawing in the eyes now around
that center point, I've joined another guideline between the eyes and the chin. And that forms the
bottom of the nose. Tidying up a bit of the eyes and adding in some more details, remembering to leave some room on the sides of
the head as well. You'll find that some people's
eyes are closer together, some people's eyes and wider. And they also have different spaces on the sides
of the head near the eyes. So just again join a line between the bottom of the
nose and the chin and started to put in a line here to
indicate area of the mouth, just the bottom part
of the mouth. Lips. Just going in and trying to getting a few little
details in there. If you need to use an eraser
to remove bits and pieces, sometimes you do make
errors along the way or you just feel perhaps you want
to change some features. Do you have an eraser on hand? I do have a smaller eraser
here that actually comes out. It's a longer sort
of tip the razor, which allows you to get a final point when you are erasing. Just trying to draw
in some smile lines on the sides of a face here and darkening some of
the corners of her mouth. And also the doc has sort
of line separating ellipse. I have a little cotton bud
and I find this really helpful when you're just trying to get into
some softer tones. And I find that with lips, especially There's a lot
of softer tones in there. So it makes sense to use a
cotton bud at those moments. It helps as well when
using cotton bud is that it creates a little bit of
darker tone in that area. When you go over
later in watercolors, you'll find that it actually
remains that very slight to dock tone in that area
created by the cotton, but it remains there. So it's almost like doing
a bit of appreciating. Use all sort of form a guide. If I'm adding in some shadows or anything on the faith
later in watercolor. I've just put in some more
details around the eyes, especially near the iris. Just trying to refine now
the bottom of her chin, the size of a face. Notice that I always
thought very lightly. Go in tentatively and don't worry too much
about making a mistake. Just estimate as well as you can where you
want the features to be. Then as you become
more confident, drawing and shaping the face, you'll find that you
can darken up some of the lines a little bit
more and continue on. I'm trying to draw it in
now the top of her hair. What I'm trying to
do, especially he's just simplify this
into one basic shape. So she's going to
burn up the top. And basically a little bit of
hair that that touches onto a forehead that forms
a very soft edge where the hair comes out of a
forehead towards the back. There's not really much
detail I put in there at all in terms of the
details of the hair, all I've done is essentially just made sure
that I've got in a really, really basic hairline and the general shape of her
hair against the background. A lot of the details of the
hair and highlights and dark areas in particular
strands that will come later. And I tend to leave a lot
of that to the watercolors. Put in a little bit
of her neck and also a shirt that she's wearing. And we're going to go
straight into the painting. This is a mixture of
a little bit of pyro, scarlet and yellow ocher. Make sure you go very light. I'd say 20% pain in 80% water. I'm using a small
watercolor mop brush. Allows me to pick
up a lot of water. Just go over entire face. The only thing I'm leaving
out is a teeth and the insides of our eyes
just want to leave a bit of white in there to get a
softer transition into a hair. I'm just picking
up a little bit of yellow ocher and putting
that into a hair, as well as a little bit
of perylene orange, which is mixing those together so that it doesn't
come out too strong. Making sure that we're only
getting in a very light wash of the yellows and the
warmer colors in here, oranges, the flesh tones. You're going to carry
this flesh tone down to the rest of the body as well. And put a little bit of coloring for the top that she's wearing. It's a good opportunity
now if you get a chance to just pick up a bit of paint, some slightly darker paint. And I'm using a little
number six round brush here and I'm dropping in some very slight indications of the darker areas and their hair while the
paper is still wet. Doing that as well. Along her face, maybe slight
bit of shadow underneath our eyes and just getting some color
into our eyes as well. By this time the paper is
slightly damp or almost dried. You can see already a
soft edge forming with a hair and skin. And that's what I wanted. I've added in a
little bit of color, a little bit of purlin
Scala to her lips as well. At this stage, what I've
done is that I've got a little spray
bottle and I've just sprayed a fine mist over
the entire portrait. And this is just
going to give me a bit more time so that I can get into them soft shadows and that's what I'm doing here. I'm just picking up
little bit more paint and slightly darker paint
and dropping it into a face to try
to get in some very, very subtle gradations in color. And this is only
really possible. Get these sort of
softness when the, when the paper is actually wet. Using a spray bottle
really helps, just mocking out
her eyebrows now, a little bit of neutral
tint, very light, but it's still dark
and pretty much the rest of the paint on there. Then I can go in and stop putting in pots of eyes as well. I've just got some little bit of neutral tint and
a bit of brown. And I'm trying to
drop in two eyes, also shaping the
tops of her eyes, a little bit of the
bottom part as well. Get in perhaps a bit
of indication of some eyelashes or eyeline
are running on the top of her eyes and also little bit around the
corners of the mouth as well, just to slowly build up
a bit of that darkness. Now I've just got a
smaller round brushes, a number four round brush and picked up some
dark and neutral tint. And what I'm doing
here is again, just darkening a little bit
across the top of her eyes and getting a few brushstrokes into indicate some eyelashes. And the way you do them is
that you bring the brush down and then flick it
upwards, down and up. When you doing the eyelashes
on the bottom of the eye, they just come
directly downwards on a slight angle to the
left language will lift. You're doing the
left ions liable to the right view of the rod. I sort of curve towards the right until you gets more than middle
part of the eye. Just starting to
reinforce some of these extra darker
parts in the face. And you have to do this
slowly just in case. In order to think. If you go into too quickly, sometimes you make it too dark, difficult to remove sharp edges. What I'm doing here is I've
mixed up a little bit of that same orange and yellow mix and I'm using a fan brush. Try getting some of
these indications of strokes like DACA, strokes in the hair. That's a bit of neutral
tint that I'm using. Going very, very light there. At this point, I've
decided to put in the background and I'm using
the cooler color and a bit of purple in here because
I find that it forms a really good complimentary
sort of contrast to oldest warmth scheme
in on the hair. So if you're using these
contrasting colors, tends to look more interesting. I'm trying to take
advantage of some of those complimentary
colors that I see here. Come up with something unique. Just cutting around
her hair as well. It looks a bit messy
at the moment, but I'll show you later on how to soften up some of those
edges a little bit more. Mixed for that background. It's about 50% color, 50% water. Moved a bit of that
dark and neutral tint down to her clothing. And the bottom of the
painting as well. I do like to get things
to join on if possible. If I can join a bit of the
background onto part of a shirt or part of
her body. Her hair. Soft enough, an
edge here or there, tends to look more natural. Going back into her
hair again and again, picking up a little
bit of neutral tint, a little bit of brown if
you don't have some of that liberative brand
and a bit of blue mixed together will do fine as well. From this part on, it's just trying to refine the features and
especially on her face, you can see what I'm
doing here is creating a little bit more darkness
around how eyelashes, especially corners of the mouth. Putting a bit more
darkness into her hair, using a flat brush
to preserve a bit of that edge where the button
just goes up into the air. And I'm bringing some of
these color down as well. Notice that our softening some of the edges where the hair goes off into the background, touches the background as well. Little bit more
darkness in her lip. Trying to find some
soft shadows that I can add in here. Again. Just refining your eyes because
I thought she's going to need perhaps a little
bit more darkness in her eyes and also some fine marks for her eyebrows as well. You drill the eyebrows
in one-by-one, each of the little
hairs coming out. And you hold the
brush very lightly. Tend to dry off that brush as well so that when you put on that eyelashes, eyelash, your eyebrow
or what have you, it doesn't come
off as too watery. More predictable that shape. It's almost like you're
drawing with a pin. Food and obliterate more
shadow and I'm shaping the jaw now as well. And also creating
little bit of merging. As you can see,
I've just applied a teeny bit of water on
the corners of the head, on the corners of the hair where it touches the background,
even his shoulder. Just putting a little bit
of water in there and sort of scrub it the paper a
little bit of few times. That creates a slightly
slightly light area if you've got a bit
of tissue as well. Dab on a lift-off. That can also help. I've used a bit of
kwashiorkor to try to get in some highlights in her hair. And you can see how I've
drawn in just little strands, tiny little strands, the left-hand side
of overhead as well. Doing the same thing with
that brushes softening so that the body doesn't stick out too much in the background that it
merges a little bit. Something that I really liked to do to make the portrait look more natural and the background as part
of the whole scene. I'm just trying to correct
her hairline a little bit here and add
some more here to the right-hand side of her head. More darkness. The sides of her nose. Very light colors that I'm
using here is the same. It's either a bit of purple
and neutral tint or it's a bit of red and
yellow mixed together. Perhaps a bit of neutral tint
in there, very few colors. Actually in this
whole, whole painting. That's the tissue that
I'm talking about. They're sort of
dabbing off to try to lift a little bit of paint. Here I am with the little
round brushes again, and I'm adding in
some freckles here. And the way you do it
is that you pick up a little bit of
tiny bit of paint. I'm using a bit of
orange and a bit of red. Maybe you'd have
yellow mixed together in air is watering it down so that it's almost
about 90% water, 10% paint. Just putting a few little dots on her face in random areas, making sure that a bit
larger than others, some of them are more group
depart with freckles. And then I do have a
bit of tissue as well, which you'll see at some
points I do debit onto the paper to lift
off some of that, some of that paint there to indicate the
freckles so that we get some softer looking
freckles and we get some more sharp and looking one, some that look leader in, some that look darker. And just having that variation of brushstrokes in there
really makes a difference. I'm using a small round
brush and I'm darkening her eyebrows a little bit more. Over here. Corners of the mouth. You see I've done this
quite a few times. Sometimes it takes
a few Goes to get the the values that you desire. Just trying to get
in a little bit of little bit more
color to a face, little bit of little bit more
shadowing here in her lip. Again, refining around her lips, especially underneath
that top lip to get a teeny bit of shadow underneath even around a teeth, just making sure that
we've got the gums. The kind of reddish
color as well. From here on, it's just
It's just adding in a few more freckles
here on on the rest of the body and continue on. You can you can keep on
detailing and detailing until you are essentially
happy with how it looks. I tend to stop when I'm
pleased with how it looks. It's not a particular time
that I do stop. That's it.
8. Portrait Sketch: Woman: Going to stick with
this reference picture, just basic frontal sort of reference picture
that we're face is turned a little bit to
the right-hand side. I'm going to read large
ahead a little bit, but I'm going to just put
in some basic details for the size of the general
size of their head. Go to tune in here. Notice it starts,
it's sort of like a smallish round edge here. And then it comes
up to more sort of a sharper angle
on the edges here. That was sides of her
face sort of comes in. You can see a cheaper in there. This one does the
same sort of thing. They're just trying to get
in basically the shape, the general shape
of her head first. Then we can go in and put in details like her eyes and
everything like that. But it's kind of look at it. It's basically
oval-shaped, so they head comes all the way up
to the top there. Then if you draw a line
roughly down the center, that's where the eyeline is. A need to start measuring out
roughly how far apart her. What I do is basically just put the inside and the outside of the corners of the eye and then leave roughly
about one space. Now I'm doing this quiet. Again, pretty, pretty loosely
based on the reference. Normally you'd spend a
bit more time doing this. Here is just that aren't just gonna put it
in quickly like this. And the psi here we can go in. There we go. That's a
bit of an eye there. Bottom comes down and
is sort of like goes around the edge like that and do the same thing
for these ones. It goes in there and then we've got more than largest
section around that. Just sort of curves
a bit more outwards and then goes back in here. Just corners of the eye
just stopped putting in a little indication for the insides of the
eyes and pupils in the iris and what
have you got eyelids. The eyelids. Here's
world which we'll just put in like this. The other one here. I'm just outlining it
because we're going to do this more later on when we going with the extra
watercolors eyebrows so we can start just
shaping these little, putting their rough
location like that. And I think that's
should do the trick, just something like this. And then we can refine
it a bit more later. Now here comes the nose. And again, what I want
to do is just divide this section underneath the eye and underneath the
chin here by half, roughly about a half. Leave that here. That'll be the
bottom of the nose. If you just go like
here perhaps or circle. Then I'm going to go around
to the edges of the nose and the nostrils
sort of come out just far enough that they
touched the corner of the eye. Here. If you just draw a
little line downwards, that's the location in
which they come out. And then you can just add
in the nostrils like this. The rest of it is pretty. You just all you
need to do is just adding a little bit
of shading like that. But you don't need to
do a whole whole lot sometimes in the corners
here that does help just putting in outlining a bit of this section to get that
bridge of the nose in. Something like that. Good, good, good. I think that nostrils
progress a little bit too wide out so I can just
reduce it down a little. We'll start getting
in the lips as well. So from the bottom of the nose, what I'm going to
do is start drawing a line roughly around halfway through from the
bottom of the nose to the chin, here to here. Just divide that
roughly into half. This is going to get us
the bottom of the lip. If I just put it in a mark here. And this can be the
top of the lip. And then the width of
the lip we have to look at sort of goes
up into the corners, the corners of her eye. This one goes all the way
around here and the other one goes again round to the
center point of her eye. Like that. Then we can start
putting in a line, indicate the parting of lips. Like these. Loops have very soft edges on them. There's really not much in the way of actual
edges on the leaves. They're very soft edges. So I tend to just draw the inside of the lip
first, like that. Just that little line, that little crease
across the lip. And from there from there, just leave it basically. Later on we can get
some more details in just looking whether we need to reshift anything
around the chin on. I think I place the chin
a little bit closer here. Further in. Let's have a look at
the sides of a face. This still roughly accurate. The only thing is I think it's just a little
probe a little bit too wide on this side. So I want to just bring that
in a bit more like that. Like this. There. It looks a bit better. Looking at this space
in-between the corner of y and the edge of the face as well. Cheap birds are a little
bit more obvious as well. I do poke out a bit
more like that. This side of her head again, I'm gonna need to just
reduce the size of the jaw. A little bit. Cheap burners
welcoming in there. That Fantastic. We've got a few other
things like with the eye, you can start drawing
in the pupil. Little detail running
inside the eye like this. I wouldn't be too
fast with it though. A lot of this stuff we
can get in afterwards once the regarding
with the watercolors. We've still got
these guiding lines and everything in here. Anyhow, let's have a locally ear starts around about the
sod of the nostril. Halfway through. You can see it's just runs up in there and then disappears
around some hay. And you can't even
see the other side. Parting of hair because he
begins somewhere around there. Then in good part of it
actually goes out of the scene. So you can't really see. Just trying to get a
little indication. I mean, we don't have
to keep it like this. We can of course, change
her hair around a bit. Just wanted getting a
bit of an indication of the direction of where hairs facing neck as well
coming down through here. So looking at a chin, that right-hand
side of the chin. Just drawing a bit of a line
that's coming down here. That's kind of like
head and neck area. It's kind of a bit
darker in here. Just sort of comes all the way down and goes onto
his shoulders. He finishes up roughly there. Just a bit of hair like this. She does have an
earring as well. I think I'll leave these out. Just a bit of work to put
in t Does that we can, we try more hair sort of coming onto the shoulders like that so we can sort of get on his
shoulders here as well. And that sort of comes down like this there for that
right shoulder than the left shoulder just coming
out and down like this. Fantastic. No worries. I think we will get a move on. Get started. This
one speaker, Scott. I'm just going to
round out how to draw here a little bit. It's just an interesting sort
of George wide at the base. You want to make them just
a little bit more accurate, the width of them. Let's go ahead and
get in some color. We'll start off with a really in this first wash
or you just want to get in real basic mixes of flesh tones. So I do use a combination of yellow ocher and also a
bit of perylene Scala, which is basically waters
down to around a pink color. I want to keep this pretty lot. The mix is mostly water
and I'm just going to drop that in here like that and
just see how that appease. If it needs to be dark
into anything like that. I think that is a
pretty good start. So I'm going to just go over almost a whole faced in
the surrounding areas, even a hair a
little bit as well. Eyes and cut around the eyes and I'll put in some paint in there, but just lighter later on. The reason why I'm
going over here as well as because there's that
scalp area in there and it just allows me to get through a little
bit of that wash. Here we are. I'm just putting in a real basic wash over her face. Like that. Pretty quick wash. And I'm going to also bring this wash all the
way down until we get to Nick 40 here as well. So as shoulders, just a really light wash of
these color if you run out, you'd treat because you're
going to have to mix it up roughly the same
proportions again, which is what I'm trying
to do here at the bottom. Just a bit here at the base. And what I'd like to do is getting a lot of
work with flesh tones, waiting too wet
because it's probably the best time to do it
while the paper is wet. So I keep a little spray
bottle on hand to allow me the ability to do this. I've got myself a
little round brush here, and let's have a look. We might want to put
it in a bit more here. I have some purple paint
as well here on the side. And I find this is really good. And to start using to put in some shadows and
things on the face. Wet into wet. That is. So he's a bit on her nose, just on the right-hand
side of her nose. Like that. I'm just trying to make
a really quick shadow. A soft shadow goes
always almost to the eyebrow up the top there like that
connects on a little. I'm gonna just lift off there. And then let's go
underneath her. I just a bit of
darkness in here, around the edges there
to that right-hand side. It looks very dark
at the moment, but when it dries, it should make more sense. If it's too cool as well, just to remember to drop in
a bit of red into that mix. And I find that definitely
helps a favorite. Just bringing the sole around, gonna get in a little
bit of it here as well. And that left-hand
side coming around and knows he just light sort of indication on
the left side of a nose underneath that
little bit there. Good, good, good. Great. Rid of the top. Like that. The eyes, I'm just
going to put it in a very light wash of a pink
color running through this, just so that they're
not completely white because they're
not actually white. If you look at them
very carefully, they are slightly
warm color to them. They need to kind of mix
the shadows as well. Buddhist shadow here for her hair and that
left-hand side. So I've got a coming over
to the left there like that underneath
her chin as well. We'll notice there's
actually a bit of darker shadow
underneath like this. Sort of separates a chain
from the rest of the body. But I'm not super fast as
to how we're gonna do this. We're just, again, this is just a really quick
sort of indication. So there's not much in the way of a lot
of detail in here, just indicating some
shadows here and there. Later what we'll do
is actually dropping some more sharper
bits and pieces. The outline what's happening
underneath the nose? I do notice there's
a bit of darkness and get a soft darkness here. Rounded nostril as well. You can see in here
around the lips. And I think the
lips probably need a bit more color in there
and just drop some in. This is just a bit of a
reddish color journal drop in here like that. Just let that kind
of mixing nicely. Went into wet sand at
the bottom as well. Like that. Let's while I love
doing all this, lot of the work wet into wet, you can get those
really subtle Changes. Tone when you do it this way. Good, good. Just having a look
where else I might want to put in some
extra documents. What have you? Darkness underneath?
There's whoa, just looking at some areas
underneath the lips. There's a bit of
tiny little bit of this darkness,
which I'll add in. Drawn off that
brush a little bit. I'm adding in just
a little bit of this purplish sort of neutral
tint underneath the lips. Maybe a beak here for the
noss, true, like that. And a lot of this will
be done later anyhow, so don't feel like you have to get it all in at this moment. Great. Soften that
high a bit more. Sometimes it's nice to have
one eye that's kind of like a focus I that's
brought it in the other one. Let's try to get in some hair. I'm going to pick up
some brown paint. Tiny bit of brand mixed into the purple. Actually,
there'll be good. Just burnt umber with purple. Let's see if I can get
in a few little strokes. Running through. Try and get some some
dry brush strokes and shop a sort of
pizza, their hair. Mixing with the mole as
software beats as well. We won't have to redo some of
these most likely laid off. Maybe they're putting
a bit more purple. We need to darken that down a
little bit of neutral tint. Good, good, good. Also helps to outline the edge
of a face if you can see. Pretty subtle. Keep in mind that beat is
also slightly wet, so it's not all a 100% shop. At this point, I'm
doing a lot of it. Wet into wet. You're going to get some
mixing that's gonna go into the face as well. Let's put it in a
bit of yellow ocher. The brown here. A few of those drugs
coming across somebody, perhaps just kind of
mixing in like this. We'll have to shape the
face a bit more. Later on. I just want to get in
some of some wet in wet. Great. So we're going
to let this dry and I'll come back to
it in just a moment. This is all dry it off now
and you can see already the subtle tones
that are left here, the Witton width times and
now is basically just to bring all the other
bits and pieces for it. So basically little
bit of the eyebrows, the eyes, everything like that. We're going to get some sharp, basically some sharp features and those kind of
things, a hair as well. So let's go ahead
and try to do this. Now, I have myself, again, that purple in that neutral
tint which I'm going to be using with some of these brown. Want to get it pretty
fairly dark. Okay. Certainly dark. And then
what we have on the page, let me just see if we can
do something with eyebrows. And normally if you've got
another sheet of paper, you can do this sort of
thing just to test it to see if it makes the right
mark, that kind of thing. Okay, so I'm gonna just put in a little bit of the eyebrow. And also you can use a
smaller brush if it's, if that helps too. Little bit of that eyebrow that just comes across like that. Then comes to the right-hand
side of a face like that. I'm going to I'm doing this
a little bit more loosely. Like these. Will do
her left one as well. Again, similar sort pad. I'm just observing
that one on the right. Try to get it in with as few fiddling around
brushstrokes as possible. I think that should do the trick for that
general shape for now. And I'm going to go into
our eyes a little bit. Let's form her eyes a little bit more when we
go in just a little brush. This is a number that while this is number four, I think it is. Go around and inside her eye, this is a where I like to just
put it in a bit of detail. So tiny bit of this paint on the inner sides of her eyes that kind of brings
them out further. It's not what he's
kind of online or in the reference
photo, but even so, it's a good sort of draws out
BI without putting that in, it can be very difficult to determine where the
location of the eye is. A little bit. See at the bottom
that the differences is that the bottom just has kind of a little lashes that just come out so they
just form the edge of that. I just draw a few
little flashes. There's not a there's not
really a section there to draw on the bottom of that
eye because it's actually lighter and then the lashes
come out from it like this. You can see it. That's how you
indicate the bottom of the eye and you can
use little lines. Sometimes it's sort of
pop up near that area. Go ahead and again, just shape the I go through
and fond errors that you want to emphasize like that. And then also,
obviously you've got starting to put in things
like the eyelashes, the top eyelashes as well, which you can start doing. I'll just go in like this. Just drop tried to get him
in a little bit quicker. Something like that. It's gone up a bit too high. It will be okay. These ones as well. Just going in the same
direction. Upi K. They don't have to
be super perfect. Like that. Going nostrils. Nostrils. The edge of the nose has got
like a darkness in there. Little bit kind of marking out
the corner of the nostril. Like that. What else can we do? The mouth so we can just go ahead
and put in, again, just outline this line that I've drawn in there
for the mouth. Increase. The lips are already
pretty much in there. There's not that much
that we need to do. I mean, there are
some subtle shadows underneath the nose as
well that we can put in. Even underneath here there's
a bit of darkness and they mean the lip there and kind of just curves
around the bottom of the lip. And semi sharp. I didn't do. Just soften
it a little bit though, helps to bring out the lip. Like that, but just be careful,
don't make it too dark. What else can we do here? Absolute beauty of
the nasal bridge. Like this, stability,
darkness that goes down near the eyebrows. And I'm making it lighter than the eyebrows
and not too dark. Coming down here. Just softening off the
edges here like that. Softening down the
side like that. So that the edges of very, very soft we do is just add extra water on the
corners and you find something like that. Kind of come all the way
down there to the bottom. Dawkins a little bit more on
the edges as well like that. And again, soften off that edge. If it starts looking
a bit too harsh. That middle of the nose is actually it's got
the light on it, so we're going to have to
lift some of that off later. But I'll just soften
a bit of that first. At least we have more of an indication
of the nasal bridge, which I think is important. Too much water in
there. Move that around, that around a bit. Very subtle tones and certainly certainly it
doesn't take too much to get indication of what soften
soften them around the top of the eye as well as some darkness of
the top of her eye and some darkness in here, for example, some in here too. Ra to get a bit of color in. Just a bit of brown.
Burnt sienna. Put a bit of green in here. I've got some undersea green. I think that might
work nicely actually. Just try that beauty,
that undersea green. Good, good, good bit of, I think more detail
in her hair would be an ideal bit of darker colors, some neutral tint, and
a bit more of that brown to create something. Dog. What I'm hoping to do is just getting some DACA
indications in here. Draw the brush off a little bit as well so we can get some of these Skipping sort of marks
on the paper like that. It's really quite important in the stage because
we're trying to also use this as a
way to frame her face. We can't be too. We can go to lie. We have to sort
of make sure it's dark and officer that
have faces visible. Beyond all this. It's almost like he
carving out the edge of a face like that. That can be like a cheekbone
like this. Coming in. If you're looking
at the reference to see how old do you CCS? Something like that. Part of the hair so it goes in their left side. Drawer and get a bit
more there like that. Maybe be running down a face. Who's closer to a, I like this. Again, this is a little
exercise where we're cutting around the face and it would be to just draw it out. Draw the hair coming down the mountain, either blue or
something in hugest to draw that drew are a little
bit the bottom of the chin. Just a tiny bit like that. Darkness and hopefully join
onto the hair would be nice. Something like that. Here's looking pretty
messy at the moment. You see if I can add
a little bit more. The yellowish tinge to
some areas and bottom. So here perhaps a bit of water to just a soft and some of these
areas at the bottom, tiny bit of softness and
the yellow in here as well. Here. Putting some dark bits in, in some areas to that. Having a look at a few of the things
that we might be able to potentially tidy up
or really indicate. I mean, there's like she
has a little necklace here that we can
just indicate like that I've lost the year and
they're unfortunately also, if you do have
something like this is a specialty sort of brush
and then move fan brush. This can be really
good for getting in little indications
of hair as well. Little fan brush like this, little bits coming off the
side and that kind of thing. Textures. Now I do want the background to blend
in a bit with the hair too. So I'm going to actually use a flat brush now
and try to get in some colors for the background though it looks like
it's quite early. I think it would be nice to start to just get something
in there in the background. I'm going to go with
something neutral. This is, well, this
is neutral tint, so it's pretty much as neutrals, you can get it, but it almost
has a bluish tinge to it. That's the funny thing
about these colors is not really a 100% Neutral. Just mixed in a little
red in there as well. I'm going to put in just
a bit of color around her hair and just to add in
some kind of background. Hopefully you get it
to mixing and beat. Some beautiful
wet-in-wet kind of work there as well
in the background. That some softness. That's, that's a
shoulder over here. Something quick
here at the bottom. I didn't want to Cincinnati some poeple and Yay. Going again just in her
eyes and getting some more, a little bit more contrast
for the darkness. Final finishing
touches, I guess. Area here for the pupil
as well, like that. Marks like that for the
eyebrows just to strengthen them a little bit much. The inside of her eye. Nostrils emphasize some
of these bits and pieces. I'm just looking
at a jaw as well. Extra sharpness or manage that. Do have a little ring
around the iris. So I'll go ahead and
just indicate little bit of darkness around the iris
just to detail it further. There's some more
documents also in effect, even on the insides of here, It's kind of dark as well. Slightly dark and DOF. More strengthen the eyelashes. Trying to get in a few
little strokes some kind of darker pigment here and they're
running through her hair. And some spots. Notice some areas where near the base of the
hair there is there may be some dark spots and G2 just some shadows being cast. So it's a good idea sometimes to add some darkness in here. You can see just stop when he, there are a few
strands which are darker than the other ones. Certainly a bit of a
rough, loose sort of job, but gets the job done,
That's for sure.
9. Portrait Sketch: Full Figure: Okay, so in the same
we're gonna be doing this sketch of a
portrait slash figure, say figure because
you've got part of the body in favor to the body. It's a portrait landscape. And I always put
in the head first. And if you notice,
you can see it's slightly tilted to the left, so it's a bit of a side
side angle of the face. I go in and try to put in little basic details
of the eyes, indications of the
nose and the lips in getting a bit of a jaw line. As you can see here. Also, I tried to put
in a little bit of an indication of
where the hair is. So you can see essentially here the hair just goes around the
back of the ear. Trying to get it to show a little bit more detail
around the ear as well. Very, very simple sketch. Doesn't take too long
to do. Over here. I'm just trying to put in some little indication
of the side of the body. You can see some clothing or
what have you like a jacket. We're going to start
getting out some paint now and doing a
bit of sketching. That's a cotton bud. Use a little bit of
that cotton buds, sometimes smudging some
shadows in there very quickly. I'm just approaching the face
with a bit of yellow ocher mixed in with a teeny
bit of pyro scarlet. And carrying that
all the way down. The NIC tend to pick up a little bit
of darker paint. So I just mix up a slightly
darker mix of that red and yellow together maybe with a little
bit of neutral tint. And basically just
dropping in while the paint is slightly wet
or even slightly damp. Little bit more color
for the lips as well, which I'm going through here. And even outlining some details on the eyes you can see
just on the top of the eye. The bottom of the eye.
I've just started to put in a little bit of
darker color there. And I'm using a
very small brush. It's a number four round brush. I'm trying to indicate
some shadow on the right side of the face. More than left side if we're
looking at it straight on. As you can see that it
just behind the nose. As if the light
is coming in from that right-hand side and making sure that I'm not
going to dock as well. More detail in the
leaps that little potting in-between
the lips as well. At this point, the paper
is pretty much dried. And this is just a little bit of dry brush detailing to bring out some hard
edges, as you can see. Some eyebrows as well. Just putting in a little bit of that and some detailing
inside the ear. I'm going to carry
down some color into the clothing
of this figure. Bit of warmth and Beta
coolness as well. The front. I'm picking up some
pretty dark paint here. It's dark, neutral
tint mixed in with the console violet to get
it really as dark as I can. And I'm going through and
basically just adding in some hair flat brush
that I'm using as well. You're going to be very
careful just to make sure you're cutting
around that face, but not going into the face
and the facial details. Just adding in some
more darkness. Now here in the background. It always helps if you add a dot color next to a light
color to create contrast. That's why you can see on the top I've added
some cerulean blue. Just at the top. Lighter, cool color but near the face of dark
ended up a favorite. And also just dropping in some darker colors into
the clothing as well. As you can see. Few quick, broad brushstrokes. Gets you used to creating
a negative image. Doing some negative painting. Painting the darker bits around
the lighter bits you can drop the shapes of
the face of the body. Also play around with
different colors, warm and cool colors
at the same time. Which is very, very important in terms of your
composition skills. And also just building up your
repertoire of techniques. I'm giving this
really quick dry. Now. I tend to actually work wet
into wet a lot of the time. But I do pick up the hairdryer
at times to finish it off and perhaps adding a few final finishing
touches at the end.
10. Portrait Sketch: Woman/Glasses: Okay, so we're gonna be doing
a sketch of this lady here. And I think this would
be a really good kind of warm up to get into the mood of sketching and practicing some of your basic painting
techniques to layer sketch. It doesn't take
too long. You can see I'm already
drawing in the head and basically marking out
the position of the eyes. It's really important to get a sketch before you even
start painting and get it in relatively accurately in terms of where the facial
features are tend to mark up the inner corner and
outer corner of the eye. And then I'll draw in the
general shape of the eyes. As you can see here. Divide the head, which
is basically almost like an egg shape into half. And then the halfway point, that's where I place the eyes
roughly though some people may have their eyes slightly
above or below this line, depending on the person
adding in the nose and she does have
some glasses which I thought would be something
interesting to try to add in. Some glasses just
underneath her eyes here, hanging over her ears. Glasses can be tricky at times. I'm just going to
leave these white. The plant is delete these white. I'm just placing her eyebrows now in a little cotton
bud is always very useful because it
helps to smudge some of the colors around, some of the tone around
so that you can get in some shadows of just detailed
her eyes a little bit, just color it in her eyes. And now attempting to place the her mouth and also
the bottom of the chin. So you can see here I'm just drawing parting of
ellipse and of course, the bottom, the
bottom of her lip. She's got a pretty wide
sort of smile here. Just getting some
of the small lines coming down her face, just off the edges of
her mouth like that. Now, just drawing in her face, the jaw line, and chin. Sometimes you need to
correct as you go in them. Keeping razor handy. Putting it over a
quick indication of a hand right-hand side. Retarding up here, trying to make it look like
she's holding her glasses up. Keep in mind the size
of the hands as well. In relation to a face. To make them too
small or too big. Just adding lots of
shadows onto her face. Light source,
anticipating mainly to come straight above so that they'd be some slight
darkness underneath the eyes and glosses. Putting another hand to
the left side of a face. Just drawing in some
indications of fingers in her hand to wrist. Here as well. Bringing her clothing, drawing an a clothing
for the down. Now, we should be ready, almost ready to paint it. Just refining a few details. I'm mixing up a flesh tone now. And I usually, for
these sort of saints, I'll tend to use a bit of
perylene Scarlett and a bit of yellow ocher, soft and light. Almost about twenty-five percent paid seventy-five percent water. And I'm just going
over her entire face, cutting around the glasses, cutting around the whites of
the eyes and also the teeth. I'm also going over
her hands as well. While the paint is still wet. I like to always try
to drop in a bit of paint some darker paint
which usually use neutral tin plus a bit of brown or a teeny bit
of burnt sienna. You can also just add
a bit of neutral tune into that previous
flesh tone before. I'm just coloring in the
insides of her glasses to make it look like
the doc lenses. But I will leave the outsides. Lotsa. Just going to work a bit
of shadow into her hands, especially around her palms, underneath your fingers to create the impression
of some shadows. Now adding some more
color to ellipse, just a little bit of red, pinkish color to help her
lips to stand out a bit more. I'm going over the
top of my head now. Just to get in clothing. This is pretty
much neutral tint, may have mixed a tiny bit
of blue or purple into it, but it's predominantly
neutral tint. And I'm using these
to cut around her face and also her hands. You can see put a bit of
something on her left arm. They're just darkening again, those glasses very slightly. And at the base of
a clothing I've just added in a bit of water with a teeny
bit of neutral tint. Now I'm picking
up, we would agree this is undersea green and I'm just going into the
background and cutting around. And you'll notice I'm
cutting around her hands as well because we've got quite a dark color
in this green. Able to get a really
nice contrast here. A bit of granulation with
this green, which is amazing. I thought I'd keep the
background pretty simple. Just adding a few
splotches of daka, daka green here and there, but it's predominantly
you just see green while the
background is drying. I'm just taking my time
here to go in and add some extra details to the face. And one of the things I
like to work on a lotus, the eyes just to draw
her eyes out a bit more, some eyelashes, the corners and edges
of her eyes as well. Do you need a bit of
darkening so that they pop out a bit more, which is also working
on her pupils. The irises, just nutritive
that I'm using here. And I've also put in the
eyebrows while I'm at it. The same little round brush, nostrils bit of
darkness underneath her glasses and the
frames of the glasses as well to help it for
more of an edge bit of darkness in the corners
of her mouth and you had teeth which we'll draw
out her teeth extra. Here I'm just adding a bit
of darkness underneath a nose and underneath
the glasses. They just didn't
indicate some shadow.
11. Female Portrait 1: Light Areas: We've got ourselves a
full by five grid here. And what we're gonna do is we're going to start
drawing in some of the features and we're
actually going to go through and start with
the top ones first, we can see that this is quite
a zoomed in photograph, and this will allow us to get
in a little bit more of the detailing compared to some
of the other photographs. So we're gonna go
ahead and let's go ahead and put in part
of the easiest pot, which I would say is just this square of the
second square here, where you can see her hair
kind of come in from the top. I'm just going to mark where
it comes in and then here. Okay, so just above
the center of that box coming in
down like this. The next bit of course, we've got some stray hairs just coming off in a
few different areas. But what I want you to
focus on is just look at the general bulk of her hair. And we're going to go ahead and draw the outline for that. The rest of it we
will be able to get in perhaps a
little bit later with some quash or
just by lifting out the general
shape of her hair, which kind of separates
out from the background, the hair from the
background thing that's important to put in. Over here. We can see that again, the hands sort of comes in and exits out of the
box a little bit, little bit left, left
center of this one here. So I'm just gonna
go ahead and again, draw a little line coming
through like that and ignore all the little hairs coming off and all
these little areas. But we want to do
is just getting a really quick
indication of where it exits and just
exit, exit that box. This one here is a little
bit more complicated, so we know that there's
some hair sort of coming out of that box here. There's a bit here. Then it comes out a
little bit like this. And then there's another bit
of hair that sort of comes out coming down in here and
then exits out like that. So just really quickly
indicated where that is. I think the more important part is with the hair she
touches her face because that's going to indicate
the edges of the forehead, the jaw, the cheekbones. We're going to have to go in and put those in a
little bit later. But I think this is
the easiest part to sort of start off with. And sometimes I just let
myself traveling in a go with, start with the easiest
bit first because I know some pots and literally more
challenging than others. And it's just good
to know that I can get into it and
start with something. We know we have this
sort of bit of hand. It's coming across and
it comes in like that. There's a lot going on here. Just a bit coming up and
coming down like this. This box there. You'll notice as well
that neck is coming through this box and we can see sort of comes through here. And then through the top slightly who the
middle of this box here? Middle top, middle, slightly
above the middle section. That muscle here. And then that goes up like this, kind of goes all the
way behind the hair. And then through here, just a little dot there. And I'm going to connect
this up like this. That will be the
start of her neck. While, while we're here. First, what we can
do is start getting in the details of the face. But I think probably the best thing is to
start off with the hair. I just want to get the solder
the hair out of the way. Again, looking at the reference photo and there's
a bit of the head, It's just comes across
like this and followed in kosher about a third of the way roughly a third of the way through
that box like that. Down here. Comes into the
edge of that box here. Down almost vertical
but slightly coming in. That's the here's the part of a cheaper and then
coming further down. This is where we were at. Again with the jaw. Again, estimating
whereabouts and draw sort of It comes through the sand box. It's about a third way through
that box or in a bit here. The part of the jaw
where it starts to the widest section
of a general sort of finishes about here. Quite a little bit
of an angle there. I'm going to draw that
slightly curved line but almost straight. And then the same thing goes
with this side of her face. Like that can also correct
bit later if we are off, but I think that's a good
to starting ground for now. Again, that's putting the
top side of a jaw here, coming through that box. And to chin, we're going to
go through and that line. These. The chin at the bottom, it's a little bit flatter here
at the bottom like this. And on it's slight
tilt faces on very, very slight tilt like that. And then the lawn exiting out of that bulks coming
through that one, they're just leaving a bit
of that edge of that box. The sod of the jaw kind of the
opposite side of that one. And this side is a
little bit higher. It is tilted on a
bit of an ankle. It's actually going that little
edge of the drawers that halfway through this
halfway through that box. And then it goes up very, very slightly like this. That's pretty much I've
just put in the neck here, joining onto the jaw. Perhaps a bit of the other
side of a nick about here. Again, estimating
about which cuts the shoulder cuts
through a better said about a third of the
way through that box. And joining this up here. I think that looks somewhat accurate and we'll have
to reassess a bit later. Shoulder goes up a
little bit on an angle. So it kind of dips down
here near the clavicle. And then it goes up
very slightly like that and comes down. Fantastic few bits left in terms of the actual hetro phase that
we need to put in. But I think having the herring, putting the hair and first
makes it a lot easier. So then we can then focus
on the facial details. I'm just estimating over here, especially where the top of
her head is because it's kind of it's not in the same It's
not actually in the scene. So I'm having to estimate
where it comes in. I'm gonna do this
part over here first. I just, I'm gonna go get a
bit stuck on that other side. So I'm going to get
this coming through, cuts through almost diagonally. If you check that I just did it diagonally through this box. Curved line is another bit of her hair that comes
in on that angle, as well as side kind
of codes around. Comes through here. Again, about halfway through
that box, ends about here. I'm going to just get that brief outline of where it comes through
that box like that. Okay. This one is a kind of
a cone that just comes through and exit
somewhere at the side. He like that It's a
little bit tricky. Not hugely important. In terms of the location
of the CO is more. The importance of this is where the hair touches a face because this is
going to form a boundary. Okay, So this kind
of goes all the way down and then disappears
off like that. Coming through, bring this
down in here, like that. There we go. So we've got
coming through in a bit of also some darkness running through this
section like that. I will just quickly doc. And then this bit of
hair that comes in here, actually forming the boundary
of a face and it goes very, very close to the eye as well. Okay. So that more hair coming down the back, going through bap the halfway
point of that box as well. A lot of the head
down the side here, I think I'm gonna have
to just paint most of it even as we go and try to get some lights and
darks running through, it's quite tricky
because sort of cooling around or different places. Just carry that down here. More of the hair coming out. Here's well-being at the bottom, kind of curling around. A lot of this stuff.
I think I'll get in later with the watercolors. I just need to estimate
where the top of a HEDIS. Now this is tricky, guessing it's about here. I don't want to end it too
far out of the scene as well. Remember, I think this
will certainly change. This will certainly
change a little bit. As I continue working on it. I think it's a bit too high up. I'm just going to reduce
that down a little bit. So I'm going to estimating
i7 finishes off about there. And we know we
have this big kind of coming across
and bitter here, current cutting across here. The speed here, which is kind of darker underneath and then again disputed here that cuts
across side of her face. I think that's enough
detail for the hair. I'm going to leave that for now and I'll add in some more lead. Ronald, I want to start working on some of the facial details, which is probably the crucial, one of the most crucial things
in this, in this portrait, in any portrait really
placement of the eyes. So what I'll do first is
we'll go and do lift. I know that it's sort of roughly placed in the middle
of these two grids here. Slightly for the down, say around here, slightly further down from
the middle section. And I'm going to draw
the little indication here of the part of her eye. Then I'm going to put
the other side here. And this side is kind of It's in the middle
of the box really. It's kind of like about here. It's angled a little bit down, further down than
this dot over here. We've got the width of the eyes. The eye here is sorted
and now we're going to have to work out the height, the aperture of the eye, and I'm going to just estimate
it to be around this. And I'll draw details in kind of curve up and
then come down like these. Do the same thing. These other eye go
very, very light. Just a dot there in the center. I'll do this one as well. And I lead will put put
on at the same time. Just go around. It just follows the contour
of the top of the eye. Straight up through the
midsection and then comes down right about here and stops the bottom part of the eye here as well. Right? So now we're gonna
do the right eye. And I know that it
finishes pretty much here. Again, it's in the center
of these two boxes. I'll put the general marking
point just around here. Comparing it to the left eyes. Well, it's starting around the same point in perhaps
a little bit higher up. This one starts and finishes
just on the edge here. I will probably bring
this in a bit more. It's not too wide apart. Just again, guess
the aperture here. Here. Drawing. Just to quickly on detail. Adding a bit of the eyelid. Just draw some of that. Again, just kind of contouring. It goes around the
same angle as the I. Just ducts down a little bit
around the edge like that. Little bit of the bottom part
of the eye as well here. Here. And I'll draw in a little bit of the iris and also the pupil as well to indicate their
approximate location here. And this one finishes
and the other. You have a grid line there. That's looking right. Some of the eyebrows. Let's just put in a very lot indication of
where the eyebrows are. Quite close actually to
kind of sum up like that. And then here, few brushstrokes and running
across like that, coming downwards at the end. So it's sort of
come up and down. Okay. I think that very light, remember it's just an indication
we don't actually try to try to draw them in. Now Tom to work on her
nose a little bit. Kind of has a curved
nose at the end, but there's a straight from
about here near the eyebrows. So if we can see this, this line here in
the photograph, comes around and knows. Quick look. Here. We didn't cut through
the same kind of, again, there's a little
bit of a curvature. The end nostril is putting out an approximate
location of the nostril. And then over here as well, perhaps not true here. Also, keep in mind
that the left side is going to have a lot more
light than the right side. To redo that node is
actually exactly arrive. Need to get the also tend to use just
knock him out of the ones that tend to
use a loop cotton bud, which helps quite a
bit of shadow in here. I'll do that around
here as well. So there's a bit of
shadow on inside the right side of the face
and here underneath her eye. Underneath there I hear
is well, very light. Shadows inside here. Good to sort of
soften this down. I do want to redo this
nostrils just not looking. Just not looking right. I think this one looks like
hey, certainly looks okay. There we go. That looks a little better. Like that. There's also gonna
be a little darkness on that right-hand side of that of her nose
from the darkness. Also you notice underneath
the nose there is a bit of darkness to this. Darkness brings out a
soft edge on her nose. That is not really
any other ages here. The darkness here i'm, I'm hoping bring
out the details of the noise is not
all that much else. To add. Perhaps move this nostril
down a little bit more. Now that I've had a
quick look at it, I think actually a noses, slightly slightly longer mood, this nostril down a little
as well, like this. This is going to more
accurately place and no Xin. Just having a really look
really closely at this. I think I'll leave that for now. Let's work on her lips. And the edge of ellipse coincidentally is actually in the section here of the box. So it's just below the midsection of the
box, roughly here. This is the pausing of
ellipse and also the side of the small line sort of
running up here to a noise. And then this coming over
to the right-hand side, similar sort of deal. We can now put in
this top part of it. And then it up and then down. Up, roughly here. Down. Setting a look. Now I have I done the nose I think is worth seeing. I think that should be okay. I'll just smudge here to soften. And this little area underneath
also on top of a lip. This needs to be dark and a
little bit just to indicate that little section
they're dark. And again, that the middle, the potting of ellipse needs to be placed pretty accurately. I'll just do that side. It
goes up like this, like that. And then I'll put the center
part of ellipse here. Join that up like that. Be light with this. And again similar,
he is sort of comes down the edge of the lip. And then it goes across these changes angle
and joins up here. Bottom of the lip
begins roughly here. There's no hard
edges at all here. It's all just soft edges. I'm going to just an outline
of the bottom of a lib here. Goes a bit. Say about their connect that up a little bit like that. Soft edges. I can probably just use this little cotton bud and blend upwards. That great dark and the top
lip as well. Like that. Key dokie. Looks like we've got good
Amanda detailing already. This isn't a kind of little line here in the side of the face. Like this small line. And again, I'm going to dock
and a little bit on the right side of the face, just around her
cheekbone as well. You can see. And literal darkness here. Use this opportunity to just
shade around a bit there. Eyebrows let me just dark and this little eyebrow
documents soften it out as well. Putting some little details. Just switch, see if
I can just get in some more character for eyes. Here's a little section there, and then we'll go some
little mini section. Once you a little bit more
familiar with the March, you put on the paper. You can actually go and
dock and off some sections. Just like what I'm
doing here, two more. Definitively drew out
the edges of the eyes, comes up a little
bit more like this, then comes out like that. It looks a bit better. Their eyes are
very, very crucial. I find that they're
just so tricky to do. And you have to get
them representative of everyone's different eyes. You can see her eyes kind of taper into a
narrow point here and then they kind of curve up on just the slightest angle. They're the same thing
comes as this point. The angle, the angle is greatest at the corner and then slowly, slowly increases,
decreases as you go up. Even if the I is not
a 100% in proportion. You find that the unique little characteristics
like that if someone's eyes will
create a likeness, if you exaggerate, or at
least you attempt to get the unique characteristics
of someone that is looking. I'm gonna stop fiddling around with too much on the
extra heart sounds, the eyes now put in little
indication here of the pupils. Just an indication
of where they are. I think apart from that,
just about good to go. I'm going to get into
the rest of her body. Down here. You can see a
little bit of her neck here, which I'll probably
just get on soft, sort of wet on wet here. Beautiful collarbone
clavicle coming across here, joining up in here. Very soft sort of work. A bit of the shadow
here for her clavicle. On that right-hand side. Here, a bit of her arm coming
in from this side as well. Let me just bring
this out downwards like something like that. Sort of surrounded on that side. This one just disappears out so you can't really see
what's going on there. But I will get into
a bit of top here, just running into the scene actually comes in
front of that here. I've drawn it into 22. Firing will come on boy
down roughly like here. This one as well. Let's get that coming
through this down in here. Like that. I don't know whether I will
get in the rest of her top. We can certainly guesstimated
to end about here. Just a little guess really. But I think that's about it. So we're done with the
drawing, going to erase all the guiding lines and
we've stopped painting.
12. Female Portrait 1: Dark Areas: And so we're going to go ahead and start
with a penny here. Unfortunately, I made a
bit of a mistake here. I've got some ink on the paper, but I'm hoping that we
can fix this up somehow, maybe with a bit of quash. We use this as part
of the background. Sometimes it's kind
of thing happens, but the drawing more or
less looks pretty good. Now, what I wanted to do
is start with some of these red and a little bit of, um, of these buff, titanium buff titanium bit of red and a little
bit of yellow ocher. Skin tone is more on the
sort of pinkish side. I'm going to stick with that. Go with these kind of read these red undertones maybe with a little bit of
yellow under there. So let's go ahead
and I'm going to put that straight in my head. I keep it pretty watery. Like this. Maybe a bit more yellow. Tiny bit more yellow, which constantly just
trying to change it up, adjust as you go. I'm going to go just
around the hairline here. Move this down and
cut around the eyes. Just like these. When I'm there. What was that right-hand
side as well? Having a look wavy line
finishes around here again. Again, using the tip of
that brush too, Around. Reddish paints might add in a
little more yellow in here. It's looking a little bit. But at the end of the day
that's the general and the time and bring that through the entire
face all the way down and actually through
to the bottom part as well. Where the body is a bit more here in a bit of hair there to the
right and draw a line. Finishing off. There we go. Just going to carry this two, we just carry this down. I've had with a light wash of the same color as we've used before with
the facial details. We're going to carry
this onto the shoulders. Perhaps further down
as well, this side. That I think that
should do the trick. For now. Actually down below, we could even add
a bit more detail, but I'm going to just work on
the face a little bit more. I've got some neutral tint here. I'm going to mix a bit of red
into that neutral tint to create a darker color. And if I can just get in
some light indications here, just some little shadows on
the right-hand side there, maybe to the right side
of the nose as well. Like that. Underneath the UI here. Outside of the nose. A little bit here, a
little bit of darkness. Rod side and underneath. The lip, here. Inside. And soften
this up a bit as well. I don't want these two strong soften here. Darkness here will
be small lines. And the indication for the nostrils and
might be bit early, but I think some slight
darkness them would be useful. I'll also just start adding
in some of the hair. Now just a little bit of this. I'll be using yellow ocher mixed with a bit of this
orangey color, which is quinacridone
burnt orange and just a little bit of yellow. Quinacridone burnt
orange, and also be using some burnt sienna to
later on down the track. But I'll just stop. We need a video
this color first. And I can dial it down
with some of his brown. And it's basically just burnt
sienna running through. But let's go ahead and
join that onto the head. Face. Go on. I'm going to go in
and just putting a quick little indication
of this color. Running all the way down
across the face, down. If we get a bit of blending
into the the skewness. Well, it's no big deal. This is where I'm just
trying to imply a teeny bit of the root of the hair coming out in
different directions. Face here as well. Like that. With extra layering, we're gonna be able to
get in some darker tones into the hair and just a
bit more details in there. But for the time being, we will stick with this. Use a fan brush to mix you in a tiny bit
of hair coming across. And increasing that sense of just giving that
a bit of blends. Goes into the forehead as well as around the edges of the face. Notice some hair sort of coming
across her face as well. So you can just
indicate a bit to that. More darkness, some brown
mixed with neutral tint. And we can have a bit of
a play around here to get a hint of darkness already
on that right side of a hit. The hair a little bit in there. Just a bit of brown,
tiny bit of brown. That of course here, this darkness
underneath the hair here to the left-hand
side of a head. So that's why I'm just trying
to join that up like that. But also trying to preserve
the lighter strands as well. Notice how fat sparing I am sort of around
that topic area. Remember the light
source is coming from that left-hand
side as well. So we've got to be
mindful of that. There we go. Just
some little marks. I'm actually going to pick
up some more yellow ocher. See if I can get
in a few more of these strands of the hair sort of running down
the left-hand side. Just layering over the top. You see bits sort of
coming out as well of the aging things there
and even on the sides. So you can have a bit of a Playing around like that. Witton width work
is quite amazing. I love it because you can imply so much
detail and softness. That same wash. One of the most unique
things about watercolors, mixed in a bit of a
neutral tint here. On that side. Here I'm just trying to drop
in a bit of pain. I've also got another brush. It's a flat edge. Brush. Kind of comes on a bit of an angle
and I find this is great also for
additional details. Same thing goes. I mean, I can just drop in a bit of darker paint around here. Then drag that brush
across around. And they had to create
the sense of darkness in that in some spots. Little shadows in the hair, little bit of dry brush as well. It does help. Documents on the top
there that would have had more brown mixed
with some neutral tint. You can also use this section
to kind of cut around the neck here as well. And this is going to be a
kind of a negative shape. And here that we'll just use
around that side of Nick, kinda just as it
shows in the here. So we'll go in and just
also use fan brush. Put in some slightly
darker beats running through here and
that left-hand side as well. So just some little sections of hair running down like this. Just ten side. That being mindful to soften off that darker section there
around the edges as well. A bit of neutral tint
and a bit of brown. I'm going to give
just some darkness. Add a little darkness here. The contours of face. More in here. Remember we still want to leave, we still want to
leave the color of first color showing
through that ally to sort of yellowy orange color. It make sure you
leave some of that. This is just a bit of
cutting around the jaw. Negative painting
around the jewel. Like that. I'm going to pick out a
few loose strands here and there to connect
at this width. Keep it very light going
through like that. Getting some loose marks like these here for
this bit of hair. Going to go away like
enough across and down. If I can get some, just some pure yellow here. And I want to just mix up a
little bit of this yellow, little bit of what
I want to get. Just a beautiful
sort of lie to him. Coming across forehead. Here if I can. Very light indications
like this. This is again, just
to help blend that we have era of the forehead that's sort
of joining onto the hair. Slightly more yellow ocher in there that's sort of vibrant. Few darker strands.
And he had to. I'll start working on her eyes. Let's put a bit of this. I'm going to go with a
little turquoise see sort of color mixed in
with some nutrient tint. We'll go with, we'll start
off with sort of light first, lighter and then we'll
go darker later on. But I'll just get in
a very light mix of this small round brush. We need just a little bit of color through there and down. It doesn't even
have to be perfect just to give it lots of color like that and
then leave it to dry. Seeing how far is it
going in around here. Good. Also, start adding a little bit of darkness into her nostrils. Again, just extra darkness. It's not super dark anyways, like move a mid-tone.
This one here. The left, like that. Little bit more pink
mixed with neutral tint. I'm going to use this to create
little bit of an outline for a nose which comes up to the left here of her
eyes and then sort of has a bit of an upturned
bit at the end like that. So little quick
indication there. And then soften that
down a bit like that. The base of the nose as well, there is some little shadow
underneath this helps also to form the outline of the nose. Just put a darkness on the Neith that some just a little bit of this neutral
tint I'm going to use to create live here for her eyelid. That runs all the way
through to the back down. I'm sort of like that
detailed for eyes now. Darkness in the corner there. And then I'm going to go
off and outline eyes a little bit of darkness in here for the pupil. Here for I on the left. Darkness around the edges, especially the top, coming
down to the corner like that. And of course, the eyelid. I will get it a
little bit of brown. And I'm going to use this to
start off detailing graphs, just detailing eyebrows,
starting off from around here and going in and putting a few little
strokes like that. This goes all the way off to the two here that would
stop and go here. Stop few eyelashes,
eyebrows to start here. And then they just new verb
off that left-hand side. Take your time with
these faraway Russia. Eyebrows just
stopping, dip down. Like this. Just says stop. Pointing down at the corners. Goes close to the
sides of the head. Like that. Remember we're going
to this a few times. So this is just a first
round of eyelashes. We'll continue to my browser and continue on
and add some more. Keep it pretty light so
that if we make an error, we can just as easily fix it up. Color for ellipse, I'm
going to pick up a bit of buff titanium and
mix it with some red. And I'm going to
use this color in her lips, this pinkish color. And once this is done,
I'm going to soften off the edges as well. Going in my covariance. The bottom lip, lighter. I'll just soften
that edge in color. The rest of you didn't
like this very softly. Just wanted to define that edge. They'd be better. Tops of ellipse here that
I'm going to use this brush. Also, if you've got
a favorite brush that looks very well
to soften this edge. That edge like piece. Here. Just add a bit of water and
dry off that brush and then touch that onto the edge and
it will soften it nicely. Just like that. And testing, there's a funny HER I need
to soften that one as well. Just over there. Something on here and a bit more
paint in there. I'll fix that up later. I'll put you in a
bit more colorful. Her eyes, they're actually
darker than that. Too. Wide. I'm, I'm gonna go
again with a bit of that turquoise color
mixing with neutral tint. Drop due to that. Just darken that side. Be neutral tint for the pupil. Pupils like that. And I often in fiber can I prefer to do the
pupils wet into wet so they don't look
too obvious in there. Make them too big or too small. We're just going to mean. You'll notice also
around the irises, this actually a little
darker ring around arise. So I'm gonna go in and
just indicate like this beautiful neutral tint. Here. The paint is still slightly wet, so I think this will
melt in a literal, which is really what I want. Some more detailing. I'm gonna put in our eyelashes. Little bit of neutral tint. Again. Get it pretty thick. From this point on,
you can just drop it straight in and do
those eyelashes. I'm going to go in and just
try to get him get him in as quick as I know. One go essentially. Just like that. Go off in the age the
bottom eyelashes, just a few little
indications here as well. Remember you've only
got one chance at this. Touch and go. That's my advice. Touch and go. But I do lie. You do have another
chance to go back in if you haven't quite got it, just looks better if you get
it in the first time around. Left side is going
to be a little more trickier because
I'm left-handed. Accentuate the eyelashes on
that side a little bit more. And also try to just get it in as 11 connected
shape, like that. Sort of come down and come up
with code down and come up. That's the sort of shape
that you're looking for. Keeping mind also the
shape of her eye. Tapers down to a tape is down to a small angle. Getting a few more lectures here on the bottom part of the eye. Remember, let's take
our time with that one. Soften this eyelash down a bit. I don't want that
one to be too big. I will also look at decreasing
the aperture of the eye. Marginally Mia. Like that. Adding a little bit of pink, introduce a tiny bit of pink color into the edges of
her eye as well like this. Perhaps even most of the time the whites
of the eye and not actually not actually
completely white. In fact, it's quite rare that
they are completely wiped. Going to leave the
eyes for a moment. I'll come back to it. A wool however,
just give a quick little dark and Daphne here to make sure that
it's all white. Tony okay. Matches her actual eye. I'm going to work now
on her eyelashes, eyebrows, She's, I keep
getting confused and eyebrows. Bit of this brown and a bit of the neutral tint
which I'm mixing up. I'm going to go in and
you can just follow these eyebrows that
we put in before. But we're adding a
second layer on top. This is going to add
little bit more contrast. Don't go nuts. Every, every hair
that you drawing, it has a purpose. Really make a difference. How personal? You want to be careful with
any sort of stray hairs, especially when you're
doing portraits like this. When the face is quite close, you can certainly see
what's happening. You do some little
lays down here. When you get the feeling that
it's just starting to look good or you may be
potentially overdoing it. Stop. Reassess, come back
to it in the moment. Nostrils. Dark in the middle corners of the mouth. Do you need to put in some more deluxe that gets in there. So that's out of the mouth. Here. Comes down into a
beautiful smile and just a subtle sort of smile. The kind of line in-between
ellipses so important, the only sharp edge
really an ellipse. And so we have to
get that one rot. Another thing is that
she has these kind of small lines around the side
of her face just about here. And then I'm going to indicate that like that here as well. Just a soft small lines that soften that off.
13. Female Portrait 1: Detailing: Okay, So finishing
touches to her face now, I'm going to be adding in little extra darkness and shadows to that right
side of her face. I've just thought I'd put in a bit here first for the nose, the bridge of the nose. Just over here as well,
underneath the eye, the eyebrow eye as
well like that. And the tip of a nose here. Like that. These sharp looking shadows, which I will feather out the edges a little
bit like that. Soften this edge here. They're a little bit of darkness here as well
underneath the eyebrow. Here. I'm just trying to find some
real subtle shadows in here to create a bit more
dimensionality for face. Here. Underneath I met little bit of darkness in the
edges there as well. Just near here is like that. Here. Again, this was an
area that I thought would be good to redo again as well because it should
really be a bit darker around here as well. Just carry this
down and join that onto the beautiful darkness
underneath her lip. Then even I didn't even those little darker as it
comes towards the top lip. That soften these edges. We're going to really
soften these up a bit more. To me, sharp edges in here and soften that soft
in here as well, just underneath the
lip. And that side. It'll be there. This edge softness here as well, just to figure that out. Hi there. That smile line in a bit better. Edge of her nose. Nostrils again, just touching them up. We retouch up eyes. Some slight darkness here
underneath the hair. Kind of like a
shadow from my hair. Coming down towards the jewel. That of course underneath
her chin is DACA. I'm going to pick up some of this red paint and document
down with some neutral tint. And use this to kind of
cut around a drawer, but especially in the right side where there's a little
bit more darkness. Good. Soften this bit
down. On that side. I don't want too
much of a contrast. More so just underneath the
right-hand side where it is. It's kind of like a
shadow cast by her head that soften that down. Getting, getting there,
I'm going to go pick up smaller round brush
now and look at a few more finishing touches that I can potentially
add on here. I'm again, I'm just going to
dock and around the eyes, the eyelashes, and just
touch up the thing onto the other one looks fine. Actually, they both look fine. Just more of a quick
finishing touch. Touch up the edges of the
mouth you to again, like this. Maybe a few darker eyelashes
running through you. Browse online. Also. Just start with the
background, but before I do, why not just get in a
bit of blue for top? I think some blue would be
nice just using some of these. It's cerulean color
green this down. Just a really quick
indication there. At the top. Then I'll go in and stop putting in some
background colors. I think I'll go in with a
bit of purple. There we go. This is just a darker
purple like that. Running down, counting around
a little bit this slide, let's go over in
this side as well. Maybe a bit of red and
written Watson, pink. You should have color as well, just teeny bit of that and just want to make this
background more interesting than it is with
a few different colors and just cutting
around like that. Purple and pink coming down the page and I'll cut around some of
the hair as well. Like this. Here I'm going to darken more sharpness. Let's move this down a bit darker in some
corners like here. What will be? I always find it good to create sharper contrast in some areas, as it will help too. Bring out the lots
of colors as well. Just sharpen up that
area like this. Maybe here. Mainly around the
hair I think in the body. Like them be nice. That down here mix up maybe a bit more of this pinkish color to join it on a body top as well. Good. While this is
actually still wet. Always a good idea to add
in some additional colors. If you want to darken up and create contrast
than some of the areas. I think what I'll do is
just darken up as well. Some of the areas around
him like a bit here. Drawer out just the
contours of her face. Lifts side as well,
just under here. Here are some spots where they might be potentially
some shadow or whatever you just put in a bit of color. Even in here, it
could be some shadow, darkness in some areas. I'm just using a little
filbert brush and use some little bit of this
yellow ocher mixed with little bit of orange color. And go through, how
about we'll put it in a bit of activity going on here. And with my filbert, I'm going to use
this to just pick up some little bits
of paint here and there to create
some softer edges on some pods of a hairs, like maybe here, for
instance, or here. We'll give it a quick dry first. With a filbert brush or just a normal flat brush or a round brush
you can go through. I think filbert brush
works quite well because it's designed for
lifting, scrubbing. And look at that. I've just lifted off a bit
of paint edge there into the background and
that's created a soft edge will do
the same thing here. Look at that. I'm just lifting off paint
perhaps a bit more here. This is a way that you can
create some highlights. Just lift off, go in there and then just
lift off with a bit of the tissue that you
can soften that edge. You don't have to
soften all the edges. For example, here
we can go in and soften bit of that part. This part here. Now as well. Liftoff here on the left-hand
side will soften. Just took the head as well. Little bit of hair maybe coming out around there. That sense also try to
use a bit of bullshit this stage to add in some
final little highlights. I think one of the things that really
makes a difference sources, if you tried to add a little
highlight within the eye, I'm going to go and just
pick up a bit of gouache, add on a little to
the inside left fall. I just maybe a couple of dots or so and they're
like just one. Oops. Draw off that brush a little. Something like that. Maybe. As long as it just looks
like it's coming from the same direction
you'll be okay. Again, there's little bits
of hair that might be sticking out over to the left-hand side and
even the right-hand side. And I use this rigor rigor
brush to indicate that just some little His coming out, catching the light,
perhaps maybe a big idea. Here. We are finished.
14. Female Portrait 2: Light Areas: So for this reference, I'll show you just
what I've done so far. And that's quite similar to the other videos that
I've created as well, which goes through how to use
these greeting techniques. Essentially we transferring
on the reference photo. One of the interesting
things to keep in mind with this portrait is that the face is turned to the rights and rotated a little
bit towards the right. So it's very important
to make sure you maintain that sort
of tilt on the face. And also what I've
done is just again, try to pay a bit
more attention to the cheekbone here
we've got a bit of a, a more prominent
cheekbone on the model. So we essentially just got
a few bits and pieces here. Little dots that I've
put into trying to get in the contours of her face, cheekbone, how it comes
in, what have you. And essentially try
to get the face and the hair to form a kind
of contour around the face, which makes it a
little bit easier, forms a guide for
the actual painting. Afterwards. I'm just going to go
ahead and finish off the hair over on this side, coming in towards that grid and just again noting where the
hair sort of finishes off. The hair isn't hugely important in some more
of the actual face. As I put a lot more emphasis on the facial
details of the hair, we can create
different variations, but I think with a face
and facial properties, it tends to be a lot trickier, especially when you
change little things. It can look like someone
completely different. So we have to focus on
those facial details. And the jaw is what I've spent a little bit more time
working on for this one. So there we go. That's chin and inability, the roundness of a GD
going up into your head. Now I'm just gonna
putting a neck which runs around
about halfway up, just slightly less
than halfway through this boxes grid in a bit of this hair which comes down all the way
through here again, I'm not going to really
define it or too much. Can we know that we've got the
shirt also coming through, runs through this box
here and through here. And then we're gonna get
the shoulder in here. And then it comes down,
kind of exits at the box, a little bit like
that on the edge. Another important
thing, of course, is getting in the
area of her neck. And so I'm going to just follow this down little bit
further like that. Connect that up there like that. And I'll just start
working on this one is coming in further and going out and around and
going downwards. Then we're just going to go
closer to the bottom here. And again, just finish that off. Like that. The rest of the details of the shirt I really
not too important. For now. We just need to make
sure that we've got in the general face, the the drawer as well
as facial details. So we're going to go through it, start off with the eyes
and also the eyebrows. So what I know is
that type I kind of start little bit above the center point of
this, this grid. So here's the center point. I slid a bit further up here, that's the edge of our eye. And then the other side of the eye finishes
roughly around here. A little bit wider
than I anticipated. And then I'm going to go and member this is sort
of tilting upwards very, very slightly as well, putting the boundaries
of the eye, the sort of aperture and then
start drawing in a little. And I shaped like that. It doesn't have to be perfect. But try to get the
shape of the eye, the rough shape of the eye. And she's got a very sort
of almond shaped eye and eyes and I'm going to go and also put it in most
operating the eyelid just kind of going across kind of a thinner
eyelid like that. Bit of the eyebrows WO which
I know starts roughly here, comes up and then
goes down at the end into a little bit into
almost touching her hair. Often that edge like that. Another great tool always uses just a little
cotton bud as well, which helps us
sort of spread out the smudge that
law in a bit more. So there's not too obvious. Gonna go through
putting these eye here again, just like that. There's one I am going
to go through and put on the other eye to the
left-hand side as well. Again, estimating the eyes
follow along the same lines. So we can imagine a line just kinda cutting
across like that. And we know that it's
further, further on. I'd say it's more. It would be further, perhaps they're just guess,
estimate from now. But there the way
you check as well, just have a look at where
the edge of the eye correlates to which
area of the box. So that makes about, since I'm going to
say like a quarter almost a quarter of the way
in from the right-hand side, you'd left side of the eye going all the way to the side
of her head like that. And it appears a little bit larger due to the tilt
of the head as well. Let's against not work on the
aperture loopy like this. We can just put in some
quick line details that have round-off the
edges a bit like that. Just having a look
at for accuracy. And of course, position of the eye which is
going to be here. I'm going to just start coloring and be adding a little bit of limited dog is in her. I add in our eyes as
well. Just like these. Fantastic. Just a bit of the eyebrows, something like this as well. Coming across the left-hand
side of a hit like that. Testing and now we'll start
putting in a bit of a no. So we know that the part of a nose starts
off roughly here. Nostril. The other
nostril kinda coming like this tip of the nose here. I'll put in a bit of
the nostril like that. A little bit of the right
nostril, here's thes. Left nostril comes in more here. Actually to the rats
out of that box. The rotten Australia
is about here. Then the thanks your sot of
the nose starts about there. Like that. That's a little
bit more accurate. So always use that
grid as a guideline. It's going to help
you out a great deal. I can just start adding
in a bit of shake here to the left
side of her nose. And that's going to add in a
bit of detail already a bit of soft mark V and then also to that right side of a nose
and a little bit like that underneath
the nose as well. To help just draw out a
little bit more detail. Just also work on a bit of the left side of that
nostril to add in some more. I'm a little bit more
shape in the bottom edge and also darken that
nostril little like these. Fantastic. All right, so we're getting
this and then getting there in terms of the overall image. And I'm going to start adding
into lips as well here. And we know that there's
that section of loops that comes down like this. Maybe a bit of a darker
section in the center. Again had lips come
come through that grid, come down and then
again come up. The bottom of the lip service. Top one of the top
lip ends here, the edge of the lip. And then we have
to look at the way the lip cuts through
the eyes as well and it almost almost comes through that that right-hand side of her eyes so close to
that right-hand side. So I'm just going to
mark it out like about their edge of her lips here. I'm going to just work on the the opening of a
mouth as well like this. Notice she does have a couple
of teeth coming through, so I'll just add
them in like that. Okay. Here we are very
loosely color around and the bottom of the
lip roughly here. Bottom like that. And preserving that sort of tilt of the head as well
as so important. And bring that lip up. Again, just soften those edges, bring them over into
the corners like that. On the top part of
the lip as well, that needs to be softened down. There's no real hard
edges on loops. Very subtle elements in here. The edges, I'd say probably
the only hard edges in here. The nostrils. We've
got a bit here, we can start working on
the eyes a little bit, just adding in some more little bit more
detailing around her eyes. The corners as well. Here we can start. She's actually got some make-up around the bottom
part of the eyes. Bit of shadow running
to the left-hand side. So I think that's good to
sort of start indicating. Here. Put too much of an indication, but I'll just do that quickly. I didn't little bit of
indication of eyelid like that. But apart from that, I'd say that's a good start. So we'll erase all
the grid lines and we'll start painting.
15. Female Portrait 2: Dark Areas: Okey-dokey. So I'm going to start
with the painting now. And the first thing
we'll do is aim at getting in a really light
wash of color over her face. Now I always start using a smaller mop brush
large enough, I guess they called
the washing the face. Depending on the
type of paper using, how large or how
small the paper is, just make sure you choose
an adequate brushes is an example of a scale just enough to get into
details, cut around. Some things, are getting
in a nice amount of water. Okay. So she
certainly got more of a yellowish kind of
undertone to her face. So I'm picking up some yellow ocher here and
I'm also just mixing it with a teeny bit of red that I
have leftover on the palette from a previous painting, a lot of this color. And I'm going to just
go straight in drunk, they didn't like
that and just have a quick look and
see how it appears. That's looking fine. I'm going to go with this color and
just leave a little bit of white on for teeth as well. Just this little
section in there that don't want to really
indicate too much in there, just a little bit
wide like that. So let's what I mean by when you using a color that just allows you to a thin enough color and a brush that allows you to kind of cut around bits and pieces on going into a neck as well since I'm
kind of around this area. And I'm going to bring this
wash down the page like this and just create a sharper sort of the base, okay, like that. Let's just go back into a face. The rest of this is going
to be pretty simple, just cutting around
the eyes like that. This is the left eye
and the rot ie there. Make sure also that
you've mixed up enough water and paint
for this mixing. You don't have to go
back into it again. Try to figure out what
color you've mixed and then end up, end up making a mistake. Always pre-planning, make sure that I've got enough in there, mixed up probably more than I need because then what
happens afterwards is that you can actually
go through and getting a little bit more color for the shadows and
things like that. So I'm just sort of
smooth this out a bit. Now, the darkness is going to be more on the left
side of her face. Okay. So the paint is very
wet at the moment and we just want to take advantage
of this moment in time. I'm going to put in a little
bit of brown and a bit of neutral tint here
to see if I can get in some little shadows on
the left side of a face, maybe a bit here, just indicating a nose. Draw off that brush and I'll
lift off a bit as well. Just a little bit there to indicate that sort
of a nose like that. Let's have a look. What else can we do? We can have a look
at this bit on the left side of the
face here as well. Little bit of darkness
that goes all the way towards the chin
actually, over on here. I use a purplish color so that it still is warm
enough essentially, but it's dark enough at
the same time to indicate some soft looking shadows and he is part of a neck that I thought
out a MOD as well. Let's just modulars add in some little shadows
while we a here. That also depends on how
dry the location is, where you're painting
our holidays and it's quite hot day at
the moment in Australia. So working against the elements, just trying to get in a bit of that shadow in some
areas underneath the chin here to kind of cut around the face
tiny little bit there, and then just the right
side of her jacket there. Fantastic. I'll soften that edge
off a little bit there to be careful about adding too much water
in here just to make sure you've got enough
water in there. But you don't want
to add too much, otherwise you might
cause it to blue. I might just go also, again into this
area with a lot and just another lot wash
of paint like this. So re-code this all. Just re-code this a little bit. Putting a bit more color here on that left
side of the head. A little bit there
perhaps as well. When they leave
that lot on top of her top of the left eye, but I'll try and join a bit
on here as well like that. Carry this on, like that. Fantastic. Just again working on that little subtle shadows
on the left side of a face. Pick up a bit more
of that paint, drop in a little more here, and then Nathan lip
as well. There. We have to get in all these
details right now as well. Just as much as you feel you can handle without that wash
getting out of control. I think a little bit here on the left side of the
head would be nice to just again read detailing
that section. Like that. Soften that a little
that more here. Sometimes when you go over here and this sort of
thing happens where the paint will disappear off. So you just got to reapply it lift off in some areas here. All I'm trying to
do is just getting some little little ones, softer shadows on that
left side of the face. If we don't get them all
in through this wash, we can always wait
until the next one. So just try your best to add in a few of those
little bits and pieces. I'm going to go into a
hand now and just adding a little bit of darkness. But actually before
that I might go in and just add on some yellow. I've got some yellow ocher and a teeny bit of Hansa yellow. And which is going
to get these sort of lighter highlights and AFS, just a few of them
running through. And the great thing is if you do have this sort of wet
section on her head, it makes it a lot easier to blend the hair into
the rest of the body. Best of her face. I mean, so tiny bits of this golden colored bits coming off the top and
on the bottom as well. It's gonna be great. Like that. Probably a bit here as well, just cutting around and
running it down here. Few more strokes like that. Fantastic little stray
strokes here and there. Ratti, DACA, little more. Perhaps some brown in here, a bit of burnt sienna to
help add some, just some, some other contrasting
stretch that don't all look the same. Okay. Maybe a few years. Well, do like just making sure that there's enough
rod you've strokes in here. Again, just looking at where forehead starts and finishes. We know it actually starts
around here. Here we go. The next step is just putting in some of the darks
and attempt to use a little flat
brush and angled flat brush like this to
pick up some darker paints. Over here, I've got a
bit of neutral tint. Going to mix that
off with some brown brown in here. Okay. Let's see if I can get in some darkness you on that
right-hand side of the face. And this is again
crucial because we're using the darkness to cut
around the details of a face. So we gotta be quite
deliberate here with the brushstrokes
and make sure that we cutting around
the shape of a face accurately comes in like that and then it comes out
and then goes back in here. Like that. Here. Comes around here. Good. Then of course we are
gonna be the shirt, clothing so further down. So that's just a really
rough indication of the edge of a face. I'll probably look into
it later and see if we can just refine some
bits and pieces. I do actually feel that
especially near I here, it could be a little
more refined if I just. A bit better, like this. Looks a little better. Then. We just need to work on some of these dark
bits in a hair. So this is just neutral tint
and I tend to work with it. A little indication
of dry brushes. You can see straw that brush off a little bit or let
it glide across the paper and make these little spread
of marks like this. Bit down the bottom
here as well like that. You won't even get a bit
around the song or be around the age there as well. It's mostly near the
side of the face. And here we've got certainly
a little bit more. We will be more
darkness in there. I'll do a bit here as well
for that sort of hair. And again, just sort of look at where the hair starts and
it starts roughly here. Actually, some dry
brush will help, just indicates some of these
here kind of coming out. And then of course, this bit of a going over towards that
left-hand side of the painting. Like that. Going a bit more
water actually and some more darker sort of brushstrokes like
that, like that. We're just trying to indicate the darker bits of
air and it's going to emphasize the lots of
beats funny enough, so we have to be balanced
with both parts. There we go, just
bringing that down. And of course I'm going
to just stop putting in some more and character
into the hair. There's more darkness down the base as well,
especially in here. You'll notice just
gets a bit more messy and moves around a bit. Just like that, a
bit more brown. I'm just mixing up some
brown in the neutral tint. Just use this to paint
and shape of the hair. Essentially. We're doing so
much like a little bit of negative painting where we
want to leave enough of the, this sort of lots of parts
in there as well for later. That's what I'm trying to do. Just make sure that
I've got enough. Both lightened docs and Ronnie. Fantastic. Let's go ahead and work a bit more on the details of her face. A little bit of detail for eyes. I'm just going to
use a teeny bit of neutral tint in the corner here. And I'm just going to work in darkening off a little bit of a, i's Very lot sort of mix bearing the sort
of editing years. Well, just like that. It's more sort of
just a mock out the the iris and some details. It doesn't have to
be the entire thing, just a little indication
of some color in there to start off with thoughtful
and that's very helpful. Just to begin. And of course just
outlines and noss trues to just put a bit
of that in like that. They have the
nostril here towards the rot, something like that. Okay. Good, good, good. Also, I will work a
little bit on her eyes, the shape of the eyes especially and the topping a bit like these and bring
that around to the edge. The corner there. The base bottom up on just a little little bit of color down the
bottom like that. I'll do the same with
this one as well. Didn't like that. Comes down to this
area like this. And it'll just stop
working and beat on this bottom part of that ice. A little indication like that. You've got to also
section of the nose, the nostrils here
that left nostril, but I will just
quickly outline there. You can do things like
the mouth as well, a little bit of the lip and the edge of the
mouth like this. Very subtle couple of
little marks there. Also the eyebrows. I'm going to pick up a bit
of this same neutral tint. Okay, We're going to just drag that brush a little
bit and then we can start working on the eyebrows so we
know it starts the eyebrow starts about here and I'll
just start one-by-one. Putting in these
donkeys would eyebrows. We know they kind of
continue up into a bit of a notch and they finish off. They go in just little, slightly downwards like this. That you gotta few chances
to do this by the way, you put it in a few strokes first and then we'll go in
later and we'll do them. Go over the top. Here's some more very light ones again and I'm just again trying to place them properly
so that there's enough space between the
eyes and the eyebrows. Bit of estimation here. But of course we have those lines that we put
in a little bit earlier, which certainly helps that. Fantastic. I'll let that dry off
for a little bit. I'll also start putting
in beautiful eyelid, which comes on where
cross-linked reviews, very subtle indication
of our eyelid. Let's put in a left one. Again, pretty subtle indication. That just goes over the
top like that and then goes down typos down into
the center of the eye. Here. Good. Fantastic. This is good. So we can continue
on working a little bit more on some other
shadows in here because I do find that do believe that there's just
a little bit more shadows. I think we need to emphasize. Again, I'm picking out
these little round brush, little mop brush,
basically some pink color. I'm going to try to see if
I can add another color here to the left side
of the nose like that. Dark and it off a
little like that. They're just cobe that around the left
side of a nostril. Goes up until the browser Lou, and I'll soften that edge. Soften these edges a
little bit with my brush, perhaps lift off some
paint there as well. But mainly just soften
those edges off. This one to just
soften that edge a little like that to create a bit of a shadow effect on
the left side of her nose. We've also got a
little shadow here, bet on the left side of the eye. It's hard to see, but
very subtle shadow there and perhaps here as well, little bit like that. Okay, I'll leave that in there and we can also software
off those edges like that. Anything that knows that
needs to emphasize, we can just go ahead and
put in a little bit more. So I'm in here again, I do feel that that
shadow economic lost a bit of that
in that wash price. I can go ahead and do
that here as well. Just a bit of that shadow on the left side of the
face underneath there. I think that's important to
indicate the light coming in. Something. I want to make sure that
I've got in enough. Good. On top of that. Some more darkness here, just underneath my
chin and a jewel. They're hard to see of course. Again, but we just darkening and try to find the right tones, making sure we've got
the raw tone in there. Just a light sort of
wash that section. I'm going to just draw this
spit off a little as well. Draw it that often
they're soften that edge. Just looks like there's
more of a shadow in there. Good. What I'll do as
well as perhaps add a little bit more
color into hedges. Some lots of beats that
might run through some of these bits white
because I have left some white in here when
I don't really want that. And too much in, too much of that white in there. So I'm hoping soften
it down with some of these some of these yellowy
color that's going to help. I'm not finished with the
darks in her hair as well. You go back to that in a moment. But I think the details on
the face of drawing a loose, so this is going to allow
me again to stop putting in the final dark bits and pieces and the eyelashes I think are
going to be quite crucial. Mixing up a very dark
mix of neutral tint, making sure there's enough
water in here as well. Let's have a test. We're going to go around
top part of her eye. This is where I stopped
putting in the little lashes. So you kind of go down and up, down and up, down and up. Not to emphasize actually
in this reference, but little bit like that. Down and up, down and up. It's more the
eyeliner down and up, down and up just to
get a little flick of the eyelash showing
comes down here. And of course the
ones at the bottom, you just gonna wait to put it in a few little bits like this. And they help to actually
mark the edges of the eyes on this tiny dark and the irises a
little bit as well. Carry that neutral tint downwards
inside there like that. I think that one looks fine. I'm going to go with
the left one now. Make sure that you've got a dark enough neutral tint in here. This one just comes
off like this. Like that. Wouldn't be easier actually. More like the edge of the eye. That's the deciding
factor he had just said this line at the bottom of her
eye, it's flatter. Almost just see
sort of flatness. Then that comes across
to those of the left. They also become some
of your eyelashes here, or could be a shadow
towards that left side to that dissipates and goes over
into that left side there. Which again, I can sort of
use a bit of a another brush. There have been lots of color. Connect that onto the side
of the head like that. Just darken down the
center part of our eyes. Well, here. I'll also just put
in more details for a nostrils doc and further, the nostrils do need to
be a little bit darker. Of course, the areas of
her mouth where we've got the sharp edges
around ellipse and things like that need to be putting out a little bit of pink color on
top of the ellipse. This island. If you'd
like that to Docker Hub. Doesn't matter. I'll leave that with Tommy. I actually go over the top
of that one more time. When we had done to put in
the eyelids for both sides, but I'm gonna start just
feathering in some more of her eyebrows in another layer
over the top like this. Just dark and more and more. We've got enough detail and also looking at that reference photo
to see if there's any further bits I can add in, but they're pretty dark
eyebrows and very docs do have to create extra darkness
and tone in this part. The left one's a little easier. They sort of just go high beyond just kind of go upwards
a little bit near the end. But apart from that, the mean for that one
to go so far down. Good. Wanted to dark and
have it underneath the neck here, just slightly. A bit of, a bit more
of an edge there. We've got really sharp
edges on that right side of the face as well. And again, this is
your opportunity to go in here in them. If you need to do any shaping, we feel that there's
just a bit of extra detail you want to put in defining off the
sides of the face. This is a really
good time to do it. I'm going to just
create a bit more of the shape of a cheekbone. She's making that up a bit. Of course, we have
little strands of Dhaka ham which might run through using just a little
round brush to indicate this. We don't want to get
rid of all that. Lightened her hair as well, the lots of sections, so we got to be careful. But I do want to also
emphasize some darker beats. If I can, especially through
this midsection For head, forehead and what have you get a few that just run all
the way down like that. Link up to the top of my head. I think that would help complete this and give
it a bit more flow. Especially down the base here. Careful DR. go hover
have faced as well. Just to keep that
little boundary. Well, that's good. I will start just putting it off forgotten to put in
the top of the eye. The little I'm gonna
just do that quickly. There's not much work
require just a little line. These are the ones
on the left, Spain. These appear a little bit. That would be okay. Good, good, good. Dry brush a little bit. Oh, I didn't mean to do that. And if you ever make
a mistake like that, just you can use that brush is clean brush wet down an area and just lift
off with a tissue. A tissue here and brush and I'll just touch on that paper and
lift off like that. You can avoid some dramas
by doing that. Fantastic. I'm going to go into the
rest of her clothing now. And for that, I'll just pick
out the larger mop brush. Start out with some
turquoise color and just drop that in like this turquoise color
around because we desperately need
of a bit of coolness. And here, considering
all the colors that we've used so far are
mainly just warmer colors. Here are just some
bits and pieces I thought I'd put in just
some cerulean as well. And turquoise. Just to give it a bit
of color like that. Running down, combine
the ESOP as well. They're going to
be to paint onto her face. Test stick. Running over like this
to that right-hand side. Perhaps a bit darker
in some points I can pick up some nutrients
teams and just dropping a few lines of this neutral
tint running through this section to create a
bit of sharpness here. The background as well
as also quite important, I'm gonna be using probably
just a bit of brown. If I can start off with
some of this is kind of a more neutral brown. I can just start off here
and mix it around with that social mixed in with
a bit of neutral tint. Just cut around the hair. I just want to very
basic background. And hopefully you granulate out to some parts may mix
until a clothing. More darkness in some parts. Okay. Some more brown, just
drop that in like this. Going to cut around the age of turned into almost
a grayish color now that some brown, some more. Got a bit of that
background in that look, That's looking pretty nice. Now, I want to put in some of her freckles and also
extra detailing on a face. And for this, we're gonna need to let this dry a little bit,
but we'll come back to it.
16. Female Portrait 2: Detailing: The finishing touches
we're gonna work on some of the
freckles and I'm gonna be using a smaller
round brush to get an, all these little details. There's not a whole lot left to find a few of these little brushes
that we can potentially, you'd put in some details. I do have some
really small brushes that are gonna help this one. But I do also have this
number four round brush, which I find very handy. Let's just mix up. I'm going to mix
up a teeny bit of red paint here in the corner. And we want a very
light color in here. And then we're just
going to drop in sort of red dots running
across and also have a tissue, a tissue on hand as well
because it helps to just dab off the
area a little bit so that the freckles don't look too obvious and
she's got someone who knows actually
just kind of like this and very light
with a friend who's make sure you're
using mainly water in this mix. Just a few more. Running underneath the eyes. Cross a nose across the left side of the
face uses if you will, underneath the eyes here. So make sure you
don't go too dark. Touching go they
just touching, go. Smaller brush like this. You can have a play
around with that. And it's my Megan bit easier here and tend to lift off as well if I feel like it's
just getting a bit too much. What are some kind of
knowledge as well? Just little ones. This layering of the FREC walls, I think it's quite
important to create a sense of detail in here. Some neutral tint. We're going to just see if
I can detail eyelashes. Create more contrast. I'm drawing in the
eyelid a bit more. More of the eye on that
left-hand side that I feel potentially needs more work. Ellipse, little bit
of red in here, just some Scollon,
Parma Scarlet. Drop that in a bit of
buff titanium as well. This is going to help
just turn into more of a pinkish hue. Top one, bottom one that's just cut around
those teeth again. There we go. Bottom of her lip. There's a bit of a shadow
underneath here as well, and that looks just like that. And then I'm going
to soften that off. Some water on the edges. Here. Also the lips. I'm
going to soften off the ellipse tiny bit. Water to the edge of that one bit to the
top part as well. Part of it actually going
to slight online to it. We may be able to
just get that in there some gouache
later or you can lift off like what I'm
doing at the moment. Let's create the
same sort of effect. Exhibit more subtle, lifting off a fixed,
always more subtle. Like that. Fantastic. Gonna go in and just put
in a few more details on a closed surface
and sharp and bits in here because it's all
wet and wet at the moment. So just to be here, running across the
line work really it's not even much detail at all. It's just a slight indication. You can also, again, lift off a bit of the
details of the hair using a smaller brush
or just sort of scrubbing the edges
a little bit. So here for example, and lift off, just scrub
a bit off like this. Even. We could just scrub off a bit off a bit of
color like that. That's already looking
a bit like a highlight. Same thing goes here. We can do something like that. Like that. Soften that edge a
little bit here. Stray hair or something
coming off like that. Maybe a bit more coming
off to the edge here, a bit there, and then a bit here in a bit of hair perhaps
running across in here as well. We can just get a bit of
scrubbing to get rid of some of that paint and create
a little highlight running through here. Lift off a bit like that. You've got another small highlight here as well. Thinking among want to add some color onto those highlights. Just a tiny bit of yellow. Warm that up a little. Be careful when we say too much. Lift. Again. Testing, and I'll call
this one finished.
17. Female Portrait 3: Light Areas: Greeting is a way
in which you can transfer over reference
photo on your computer. You still drawing,
but at the same time, you are using these
little squares essentially to draw in and
transfer you reference photo. Over. There are bunch of
applications that are available on your phone,
on your computer. Or the alternative is just print out the reference
picture and then draw a series of squid grids
over your reference photo. Now, the larger the
actual squares. Obviously the less
definition you're gonna get. Some people do use
grids with very, very small squares
and you're able to transfer the image of
a lot more accurately. However, at the same time, it does take quite a bit of time and resources
to do that. So I tend to go with a grid that gives me
enough sort of details. As you can see, there's
almost a section here for the eye. One eye personal square here. Sometimes I do go a
little bit smaller, but I do tend to stick
with something like this and base it on the
reference photo. But at the same time, I'm not too concerned if it's
a bit off here or there. This is a four by five grid, so it's four rows and
five columns across. And depending on the
size of your paper, you need to have a look and
see what's going to fit. So obviously, you don't want to draw the squares
to beaks so that your face is gonna be enormous and you want
it all to fit in there. So that whole grid of
the reference photos gonna basically
on the paper with a bit of space on the tops
and the size as well. So I've gone with a four by four centimeter grid
across, which seems to fit. Okay, so I'm gonna show you basically what I do
now to transfer it over. I'm gonna stop here at
the top of the head. I'm going to get in a little
bit of this detail here for the not sure what it is the being that she's
wearing going ahead, but I thought it
was pretty cool. He's going to decorative kind
of hats or what have you. So I'm just putting that
over the edges here now, one of the most
important things to note is where areas by sex, you can see a line here
where you've got one of these little red thing I
was going across like that. And it sort of comes
out on this side of the grid thing comes down
into the center there. That's how you gauge where it goes and look at where
it cuts through the grid. Whether it goes
through the center, a little bit above the center. That's going to help to
create little more accuracy. You can see it's sort of
cutting across that age. They're coming across here
at the top like that. This one, he just sort
of comes down here. Let's have a look finishes around them then
it comes all the way into the center of the
grid there, like that. Roughly around the
same through smoking. She kinda comes out like this. Then it's a hand behind there. What else have we got
here on this side? I'm just going to have to invent a few little things up the top because it
comes out of the same. And then you've got a bit here that's sort of
pops out the side. And then we've got
this part of her hat. Then we've got little
section here that comes out. I mean, really this
is all just one, almost one big shape. So we don't need
to worry too much about defining that matches. A lot of this will be done employed and mingling
with the watercolors. It's more just the
boundary so that we know roughly where it starts and
finishes in case there we go, there is the Hat more
or less finished. And so what we want to
do now I'm just going to move directly
down and look at where fringe kind
of thoughts and in the fringe roughly
around the corner here, little, little rods
right to the corner. I'm going to put in a
bit of detail like that. She's got a fringe that
just comes all the way down the front of a face and starts getting very close to that line here as we go,
that right-hand side. But just an indication
of where that is and she's got a bit of hair or so just going over the top and cutting underneath here, comes around the side
and underneath the hat. Like that. We can also start
getting in parts of a face over the edge of a face. And we can even put
in part of the ear. We know the bottom of
the ear stops there at the bottom of the
grid and then the top of it is roughly around here. Then we can go in and
start drawing in the. Location roughly cation of her ear and some little
details in there. She's got some hair
sort of going behind that year as well. Roddy. So I'm going to put
in a bit of her face. Now, what we want to
look at is just to draw. So enjoy comes in around about halfway down that box like this. Then it's sort of finishes about here so I can
mark out that box. Just draw that line coming across like that and we can change this up a
little bit later obviously, but I think it's just
a good starting place. A chin is roughly here, touches just nips the
age of that grid there, then it comes back
up again there. We're going to have to
look at where her face comes through this
section as well as a little section
there like that. And then we're
going to just start putting in her drawer there. And then we know that it goes up and goes through that grade
up the top like that. To have a look where OS doesn't sort of goes all
the way up in here. And I hairs really just
taking up a lot of the, the learner, this space
on this right-hand side. So again, we're just
using the grid to see finishes roughly left of the
center section like that. And then we've got a bit of
it just kind of coming down. And again, a lot of the
detail on the fluffiness of the hair and the individual
strands that comes later. Don't worry about
drawing it all in. We just kinda let the
edges of where the hair starts with a face
starts and finishes. That's most important thing. The placement of the features, wideness of the Joule, all that kind of stuff. That's what we're trying
to get in proportions is, is what we're
focusing on the head. We know it comes all
the way down like that. I mean, this is all just
hair there and then it comes around the side there. And she's wearing a kind
of show what it is. She's wearing
something. Interesting. We're going to put a napkin
and Nick is about here, starts just a little bit
further in from a drawer. And then it comes out like that and then finishes
roughly around here. You can just see part of it. Part of it's showing through. We have got obviously this
should that she's wearing. I'm just going to put in
some of the detail here for the section like that. I mean, again, it's
not a huge deal because a lot of his stuff we will be able to get in with
the watercolors later. But just having an indication
where to go later, I think is going
to help you out. Okay. Great. And she's got a color
here actually is well, just get that color more
accurately drawn in. It actually goes out like a side and goes
straight in like this. Should come out, comes down
here and basically just forms part of this kind of red jacket or something
that she is wearing, but the rest of it
is just hair coming down the right-hand sides.
There was nothing else. I feel like drawing really require detailing on
that right-hand sides. That's about it. We
are good to go now. We're going to go in
and put in the eyes. Now, again, we're looking, we'll probably do
this 1 first and we want to look at where the
corner of the eye starts. And that's say, if we look
into the reference photo, will find actually
that the corner of the eye starts little bit, little bit further
in from that age. Probably be out here. Just below the midsection. I missed the third the third
of the way up the box, the corner of the eye starts
roughly, roughly here. The other side of the eye
is roughly a bad here. Notice it kind of goes
up a little bit as well. I'll just put in the
bottom part of the eye and the top perhaps
around there. Then we can just
putting a little quick indication of the eye, then have a look and
see if it's looking. All right. I'll put in the eyelid as well. Just going over
the top like this instead of into the corner
section of the eye. Great. Couldn't be with the internal part
of the eye as well, just the iris and the
pupil and what have you. So I'm just going to put it in a little little
circle like that. Okay, Let's do a one
on the right now with this one starts around here. Further down in that box. It's actually quite a distance, quite a bit in kind of like
they're compared to this one. This one's almost
touching the edge of that line,
coming close to it. This one's a fib, a bit of distance away. And I'm going to put
in the corner of the eye around about, Let's put it right here. We want to leave a bit of
room on the side of the face. There's still some room there. Again, just mocking out the top and the bottom
parts of the eye. So she wears the
widest parts as well. And connect that up. Just like that. Connect that up there. I'll put it in an
online as well. Coming around the
right-hand side like that. We have got good amount
of detail in here. I'll start putting
in eyebrows as well, which are just above her eyes. Just a little
indication like these, they kind of go behind
there and this one as well. Roughly around the
same location. Coming down the edge
there like that. Okay, so just a
little detail there. And we will have to refine
this later when we go through and do the painting. But I think as a general guide, we on the right track
here with the eyebrows. Now, time to do the nose. I'm going to just start
putting in the nostril roughly he just putting
marking it out. Bottom of the nose
is roughly here. Look at where the nostril finishes roughly around the edge of the corner of that I like. I'm going to put in
beautiful that detail, therefore the edge of her nose. This one obviously the bottom
part of the nose as well. And then we've got
the nostril here. Nostril for this side there. This is the tip
of her nose here. Fantastic. And then
we'll just go in and put in the right-hand
side of a nostril, kinda comes out like this. Okay. Good. This is where we can
just again put in some more detailing for
the nostrils as well. We sort of go up more
inside like that. Great. Tend to also use a little cotton bud to getting some of the basic
shading going through here. I don't want it to be too dark, so just a tiny bit of shading
and then we'll get in some of her lips as well, which is super important. We need to just roughly find out where the top of the
lipids I'd say about here. It's about midway through, midway through the
whole one box. There's some can draw
that in like this. Then putting the top of the lip, we want to find where her lip it goes through her eye as well. We draw a line vertically, almost close to the
center of that. I'd, I'd say that here. The other one that the
corner of the eye here. Just to really little
indication of some dots, they're drawing a line
up and seeing roughly where it starts and
ends on in there, I can tell I sort of
measure everything. I compare it to what
else is in the scene. And I think that's the
most important thing. The features have to be
related to one another. That comes down. There we go. This is the top of
the top part of a lip comes down
there like that. Then you can kind of
see a bit of a teeth. You take the very
tricky to draw. Just go into the do the
bottom of her lip first, which is roughly here. Just put that in and then
lower lip is larger. I'm just putting in a little
bit of detail like that. A couple of teeth
showing through. Really tricky. Leave that tiny bit of white showing through
here like that. But there's not much there, just leave that bit of
little gap there like that. Then what we'll do is just curve this lip around
the side like that, drawing that bottom loop. Something like this. I tend to use the
cotton bud again, my good old friend, cotton bud, which helps get some
soft parts of the lips. In there. There are some
sharp edges like here. You can see kind of like
darker on the edges there. Sort of come down a
little bit like this. But really the rest of the
lipids is pretty soft, so there's not any hard edges on the maybe a little bit
on the bottom one, just because she's
wearing some lipstick, but apart from that, not all many edges in there. That's about it. I mean, in terms of the drawing this in terms of getting
in the grid and using it, transferring or wherever
it's going to take a whole lot of time. What I do now is I
go through arrays, the grid lines, and then we've got the photograph transferred. I'm sorry. It's kind of a
middle ground here. Rather than drawing it completely
by hand or tracing it, you can do this and kind
of get the benefits of drawing and still have a pretty accurate
reference photo that you transferred over.
18. Female Portrait 3: Dark Areas: It's time to get started
on the painting. And what I'm gonna
be mixing up here, I've got a little watercolor mop brush and I'm
just trying to get a little indication
of her skin using some yellow ocher and
little bit of red. At least some more yellow ocher, a little bit of hands. Good. Some Hansa yellow
as well here on the side. I don't want to
keep it too bright. But just a combination of these three to come up with a
light, sort of reddish, yellowish skin tone
that we can use here. I want to make sure I've
got enough of this as well. I'm just mixing up a
good proportion of it. I'm going to just go
straight in around here. Let's drop in that color. Okay, I'm going to
use this mop brush also to kind of cut around eyes. But at this point we're using a very light wash
across the top there. Notice Steven, I'm
just kind of gone into her hair as well. Just doing a little
cutting around the eyes to just around
the edges like this. Drop in more color here. Let me just go over that. I lead a bit more
boredom bit here. We really just trying to get a really light wash
over her entire face, bit of her neck as well. Underneath. Here. You're using a logic brushing. Don't really focusing
too much on any details. We're just trying to get in a loose Walsh on the
topic of EDM leading to what they are for a teeth to go loud enough
so that we've got, You can still clearly
see a lot of the color, the color, but the line
work in there as well. Little bit of brown I phone up within a small bit of brown in her hair and also some
of this yellow ocher. She's got Blondie brownish hair. Just dropping a bit of that to mix that into that
right-hand side of her face as well and bring that kind of
downwards in here. Leave a bit of also this leave a little bit of
white on the page too. Bring that down. There's also a bit here. I'm just going to be hearing
then just drawn onto her face and anything
goes beyond that? Yeah. Like that in here too. Another thing I really like
to do at the moment is try to drop in some color,
a little bit of color. Face, this is just a little bit of red that I've picked up, jumped into a nose. And if you've got a
smaller brush as well, these tend to be pretty good. To imply just a little bit
of color here and there. Mainly look at the reference
and see where the sum of the lots of times I you can
see just underneath her hair. So that right-hand side as well, you certainly got a little bit of tiny bit of darkness running across
the side of a face there. Little bit of that
darkness in there that comes across and that
will just blend in. If we do it at this point. Just feather it further
it nicely like this. It doesn't have to be perfect. The tones are so
subtle, it's just very, very, very light tones
on top of the island. You'll notice there's also
just a little little bit of darkness at the top. Even in the corner
of her eyes here. The edge of her nose, that side, left-hand side of a nose, coming down the bit of a cheek. Let's have a look.
Below the lip as well. Very light sort of shadow here, left of her lip
underneath the chin. Soften that edge off. I don't want it to
be harsh at all. My good idea to start putting
in a little color and I pick up notice I'm
picking up the red very, very, fairly thick so that I can just try
to drop some in here. It is quite wet
this area already, but if you draw that
brush off very slightly, you find that you can
control this red. Don't want it to go
all over the place. I'm just going to be
very careful here. Just pick up a bit
of that paint. If it does start to run amine over here, it is running a bit. I'm just picking up, mopping up a bit of that paint as we go. But I do want to get a bit
more red into the lips. Very little bit of red in there. And if it blends
around a little bit, That's a good thing as well. To soften this bureau of
human right-hand side. Now I'm putting this will
dry fine. We should be okay. It's all because we're
playing around with very light colors at the
moment, you'll find that. You'll find that
very subtle effects, very subtle effects
and they'll dry. Without too much harsh edges. We don't want any
harsh edges actually. Over here we've got a bit of the pot underneath their nose is this connects onto a top lip. You can even see a
bit of a cheek bone coming in here from
that left-hand side. It's hard to see, but actually mixed a tiny little
bit of neutral tint or a purplish color into
the red so that I can just imply some darkness on that left-hand
side of a face. It's not super obvious, but you certainly do have some
of that darkness in there, even on that right
side of the face. And the friction here as well. This is we find a lot of this stuff dries
off and you can't eat until afterwards since a
very soft sort of look. But it does make a quite
a significant difference, especially when we have such
light tones in the face. And these subtle, the variations do make
quite a difference. Bit more yellow up there
actually hit bit more yellow and red and yellow. Gonna try to get in some more color to a bit
more yellow and a bit of brown perhaps mixed into
this section of her hair. Just get some kind of waiting
with brushstrokes running through very soft brushstrokes. That because it's all about
building up that detail. Starting off light and
just slowly adding in your docs through the something. Hopefully emerges at the end. Just some little marks for hair and looking how I'm leaving a good proportion of
the previous wash. That yellow in there as well, getting in a few
strands of the hair. While I was saying before, we don't want to do all this with the with the actual watercolors. Watercolors with
the actual pencil because you find that it just disappear underneath
all this wash. Just soften this edge. Up here. Me actually redo this section a little bit to
give it a bit more. Just allow it to blend better. Go over the top face here. Very subtle. These
tones interface, just tricky to do. Leave that side of
the face now and I'm going to go on to do her hair. And not a hair, but basically just the hat that she's wearing
and it's just red. So I'm going to put in
a really light wash of this is currently
in Scarlett. Drop that straight in there. Got a bit of orange as well. Use a bit of that orange too. But we're getting some of that. It's almost a full-time. Some colors like this, when you go through with it, almost the full color, you're not gonna get
much variation at all. Even if you use it. Just slather it on or
if you use it lighter. Because unlike things
like ultramarine, ultramarine blues, they didn't
have much tonal variation. Just the inherent properties of some colors. Look at that. I'm just jetting in a little bit of that
hat that she's wearing and letting it melts in
a little bit too wet. Okay. Fantastic. So now what I will be trying
to do is going to start working a bit into clothing and what have you
just unthinking also, I'll give this another wash
over on this side so that it's just went to want to darken a
little bit more on that right-hand side of
the face under there. To encourage it to. And just blend better. Can be tricky. Bit more of that
maybe purplish color running underneath that side. Underneath how I hear. Very subtle. Underneath here. We can see just a bit on the forehead that darkness running across the face
there just needs to, needs to be slightly
darker and they're great. A little bit of this color here, which is buff titanium. I'm going to use that to
start blending in some of the clothing is color sort
of thing that she's wearing. Just a really very, very quick spontaneous
brushstrokes going through. I wanted to leave some of that paper showing
through there as well. Of course, we have some
of these beautiful red here on that right-hand
side of her clothing. Okay. So that's part of the part
of what she's wearing. And of course, these
bits and pieces here, I'm going to just draw out
a few extra down the base, perhaps a bit more
of a hair as well. This side. Do you have a smaller brush and
number six round brush? Number six round brush. I will just be using this to go through and getting a
few details for our eyes. I do have a set of
brushes as well. Small detail brushes
which allow me to, again, getting a little more, tiny bit more detail. She's got kind of greenish. Call it iss. I'll
just pick up a bit of undersea green color votes
that plus maybe a bit of, a little bit of
cerulean in there. I'm going to say turquoise,
slightly turquoise color. And to have some turquoise, someone's mix something up that will indicate our eye color. Start off with something
lighter like these. Bring that through. Just a little bit of
color in there like that. In dark and just put
in the pupils as well. Colorant for the pupils. The edges of her eyes as well, the ring around it. I sort of his darker lift off a bit of paint here. It's gonna be overboard. Just heard a little bit of
color in there. That's fine. I think I'll have to
redo that one laser on once we get in some
of the other details. Also just for the
top on my pickup, a bit of neutral tint. Put that in with the red. Let's put in some of these folds and things that are going through top section of
her hat, like that. Soft sort of areas that just run through the thick of
the paint you use. The less it will run. Obviously, the darker
it's going to be as well. So we want to be
careful that we're not overpowering everything in here. Just being mindful of that dropped a little
bit of color there. Just stopped putting in
a little bit of color for her hair's an extra color. Some brown here and that ryan Sonic and just stop
feathering in a bit of that brown that we know kinda comes
all the way up there and it will sort of a head there. And that left-hand
side as well can dock and that off with
a bit of neutral tint. To do all of it.
It's just a bit, just a little bit
to start off with. We've got some wet into
wet in here as well. I'm using a round brush. Remember this is a kind
of cuts around her face. What we're going
to have to go in probably a lot stronger later. Some of this, some of these marks will be very
helpful for later on. We've got some few different
tones in the face. The hair. Notice how just sort
of spreads his ear just looks a bit too much
when you first put it on, but once you let it sit
in for a little bit, it looks a bit better. The trickier is really just got to keep on going
and persisting with it. There are many times where you just you feel like
you want to give up. You have to keep on going. It's an additive process. Just a bit more
color around that. You would like. More pink or something
around that. More darkness around that Ron inside the eye as
well like that. Then we'll get there. Now while the paint
is still drying, it's a really great
thing to be able to just alter and change things up
a little bit like this. And basically stop putting
in some small details. He's the eyebrow just disappears off in there
really quick, right? But the beginning
of the eyebrows, just a bit of neutral
tint mixed with the red and the rough
location of it. Of them. Look at the nose, just putting in a
few little bits, bits and pieces
for the nostrils. Edge of that nose
comes in like that. Also comes in further
underneath there. Good. The lips. Work on them a bit more
titanium white and so that we've got some
just a little bit more, little bit more of
a pinkish color. I find even if you end up
having sharp edges on the lips, it's good idea to
just soften them down after they were almost dried so that they don't
overwhelm everything else. Sharp edges in there can sometimes just draw
too much attention. Darkening those lips again. I think what we can do is also bring out some of
those highlights later or something like that. Okay, Good, good. Start putting in a bit of
the ring around the eyes. Just drove boot up. Your paint is dry it off, drawn off the brush a bit. And I'm going to just adding a little ring around
the edge of the eye, then the center of
the eye as well. But again, notice that I'm
not drawing it in completely. I'm just knocking at
the edge of it in some parts and then just dry brushing it
on in some parts. I don't want it to
be too obvious. Center part of her eyes
actually pretty dark. I can pick up a bit of
this dark and paint and imply the pupil. But I do like that pupil a
bit on the left more because it's just letting me
more soft and off. So I'll do that on
that right one. Here. It's kind of a work in progress. It's gonna, we're gonna get there. Here's my neutral tint. I'll just mix up some more
of this neutral tint here on the side. Just a little bit. Okay. But here's the edge of the bottom of her eyes. Start putting in a
little eyeliner as well. Just just a dark sort of paying running across
the top part of the eye. Again, I do smaller
brushes for this. An edge age of our pink corner here as well. I'll do it for the other one. The TDA, not completely
white in there. See if I can just
soften this edge a bit. Softer manager ellipse, trying to put in some eyebrows. Brown, brownie, mix
it with neutral tint. I can start putting in just
some quick indications. Dry off the brush a
bit as well to create more very small marks
and dry brush marks. We can just put in the putting some detail there for the eyebrows,
something like that. Do the one on the left is kind of stats bed
here, continues on. Not the end by the way, we just just putting
in a little detail, go over it again probably
one more time later. This helps outline where
those eyebrows are. Often it takes me for you
guys to get it properly. I lived as well. Just stopped putting it in a
little indication of that. That's one Good, good, good, good. She's got this kind of purplish
blue published makeup, which I'm going to pick up some. I'm going to pick up a bit
of this purplish paint is basically imperial purple
and a light wash of that underneath and
see what happens. Still really light
wash, very vibrant. I'm like, if I could pick
up some ultramarine, actually that might be better. Kind of tricky to get it in, especially because the paint is mixing on the
paper so you're not getting really vibrant blue. It might be something we
can further emphasize with some gouache later on. But I'll start it off like this. See how it goes, see how it goes later. Soften that edge. I do want to just get underneath her chin a little bit as well. And just darken this mix up. Just going underneath here and darken this ear
underneath the NIC. Bringing out her
drawer line as well. That should continue. Dry off. Manet actually start putting
in a bit of her hair, more sort of dry brush
strokes for a hair. In this section with a little fan brush
is really helps to get in some textures,
little details. Darkness here where
there's this kind of here that's moved over
to the right-hand side. So we've rearranged Ron n-side coming down towards the face, their darkness knee as well. A lot of it is just layering
In very careful with that, by the way, is really only a certain
amount of detail that you can fit into each wash. They have to be
patient and let it give it time to dry
off in-between washes, strands running
down the side like these edge of her face as well as going
to have a zenme, a heart or aging some parts. Here, for example. Picking out some
darker highlights. Look on this side of her head, needs some more, little bit more here coming
in from this side. Fan a built-in increase. That's good. Drawings up nicely. Again, this pound of
distance to be more, just a few more
darker brushstrokes running through that section. Fan brushes are fantastic
for doing this. If you don't have one of
those smaller brushes that you can go
through in detail. I do have little tiny
these little brushes that also work quite well for
this type of stuff as well. Getting a bit over
here on the left side, ears behind your head. Also frames of face. Got to be careful with that. Bring it into bidding more. Going across the ear like that. I'm going to detail
our eyes a bit more. That's pretty much dried now and I'll just pick
up some neutral tint. Just some quick neutral tint. Dry off the brush a bit. See if I can go ahead
and do those eyelashes. Firstly, do the
eyeliner like that. Document sort of edge. Bring it up like this. Certainly quite tricky. But you just need to do these little spreading
brushstrokes going upwards to indicate the
eyelashes. So that's one. The other one. Starting with the eyeline of first washes like that. Bringing the pupil. The pupil. This one is well,
Center at more. Alright, so let's have a
look. What else we can do the nostrils again, we can just draw
these out a bit more. Tiny bit extra like that. The ellipse, you'll find that
there is some darkness and the edges of the
ellipse like that. When does come down to the edge. Then we've got a bit of
darkness near the teeth in just around the teeth. The bottom of her lip as well. You want to be very
careful with this, just draw off that brush
and then kind of feather in their very regionally too much just sort of lift
off a bit of paint. That should do the trick. Over here on this side as well, we'll do farmers probably just missed out a bit of a leap that I'll just put that in. Use a filbert brush which will
help me to blend the edge. You can find. This shouldn't be such
a hard edge here. Just want to soften
that off a bit. Possible even here, just
soften this afternoon. Put in a few little lashes at the bottom as well. Coming out. The bottom of throw Eileen. Little few little ones. Yeah. They helped to mark
out bottom of her. I think the eyes are so
crucial in a portrait. You can't really have to
spend a lot of time on it. Then part anyway. Light wash of color over the top of these
eyebrows as well. Starting to come through. I might work on Continue
just working on a here.
19. Female Portrait 3: Detailing: The fan brush, I'm
gonna pick a bit of the brown on a bit of
the yellow ocher. Mix that together. I've kind of watery mix. And I want to just
get in a few more. I want to get in a few
more light strokes here. Very watery mix. It's mostly water in the
same up here as well. Again, it's that
building up of detail. It's actually a lot of
docs running through here. The bottom corner
here, and your drawer. Using this darker sort of painted shape or
drawer a little more. Quite dark near the base
here as well. Sections here. Shadow, really done the base. Going over the clothes as well. A little, of course, a little darkness in here
to indicate some shadows. But then very quiet light, still neutral teams and they're really just indicate that light source is
coming from the rod. Start doing things like picking
up bits for the clothes. Well, just some little darker spots in indicating
what she's wearing. Shadows. I'll probably leave
that into Adobe. He actually just a bit
on around the drawer. Bit of darkness
around this area. Soft and then down
a bit as well. Good, good, good. Just dock and Rina AWS. This is another wash, another Washington Salton that nostril. I will also put in a little indication
of the underneath of the apartment loss rule impacts and bring some of this
color down in here. Few more strokes for eyebrows. I think that would be good. Just layering over the top. Ditto on an ear. Darkness, neutral tint and a
bit of red mixed together. That small little brushstrokes
for our hair. Still think eyes needed
a little more work. Just the shaping. Mole written there. Want Washington read the eyelids as well. Just a tiny bit more darkness. Outlining them again. Again, just touching
touching areas of it and then moving on. I'm not trying to draw
the entire lawn again, was sort of leaving the
previous vitro in on. You'll find that
whichever side is your non-dominant side is
going to be harder to draw. So for me that's the left slide. It's always harder
to draw and paint. Getting there. Slowly but surely. Soften that. Nostril. Again. Tricky. What else do we have in not too
many dogs on her face. I mean, a lot of
them are already in. I mean, it's just the
eyelashes that are pretty much the doc doc as pods, the pupils, little rim
around the iris as well. That's quite important. Putin and join on. Do think that the eyelashes on the right side just
a little bit better. The ones on the left. Again, that's true too. If you're always painting
the non-dominant side, non-dominant side, it's gonna be a slight difference in there. But I'm just trying to
tidy that up a bit more. And perhaps in our code a
few indications as well. Draw off that brush around these sort of
sections of the eye. Here, the center. These little bits might leave most of us face. Now what I'll do is
just start adding in a background and then
we'll come back in a moment and finish
off the rest of it. Sometimes I think having a
bit of time away from it will help healthy see if there's anything else that
you want to add in this book. You can either leave it
like this where you can add a very soft background in there. I'm going to, I'm
actually going to be using I think I'll be going with some purplish kind of paint around just
a bit of purple, especially around the hair. I feel that having
some complementary, or at least a cool color
running through here is going to make it
look more interesting. I'm going to go all
around the side. The painting, I went to
the edge of this paper. Actually. You can go darker
and some bits as well. If you feel that, help
draw out extra contrast. Look here on the left-hand side. Dial that down a bit more. It's kind of turned more
into a neutral color. I'm just picking
up whatever I've got in the palette there. This is going to help
create contrast as well. Little bit of brown and
neutral tint mixed together. When I'm using around here. If you really game,
you could probably put some green at the top. As well as the
contrast a little bit. The red won't do it
all over the place, but just a bit here and there. I'm going to stick
with this kind of purple theme that we're using. There we go. Some of this
blending as well with the with the hat thinking
because it will, parts of the head is still wet. And this is a good thing because it's going to look more
interesting if we do it this way. Rather than have it
all the same color and have a sharp shape
running all the way through. We have some soft
edges in some fonts. Can you use to be that
red down here as well? Soften that edge a bit. Now the thing that works well, It's just softening
some edges here where the background
meets the figure. You can either do it now
or you can do it later. What it, what it does
is that it just creates a bit more cohesion in
the scene rather than just sticking up too much. I'll give this a real quick dry. We are nearing the end of this. And again, it's just finding a few extra details
that you want to put in and use to finish off the same. For me. I just want to get in some
more of these eyelashes. Tiny bit more detail in the hips, around the teeth, around
the edge of the nose. Just being bits that you
might want to draw it out. These are your funnel really dark tones that you're
adding in here. Outlining pods of the clothing and individual
hair strands as well. You find that's an
important thing too. To indicate. Just a few little strands are running down the sides here. The round brush, the NIC, outline, the cola, soft and some edges
as well here. It can sometimes even
get some through here. And just lifting a bit of paint. The brush, soft edges in some parts here as well. I think he is an OS
police to Salt Lake City, too harsh in that section. Maybe here as well. I'll add a bit of
darkness in that corner. You can even get little
lighter strands of hair kind of running
through the blue like this. If you just lift
off in some spots. Can do it here. Maybe here, unless
you got to wait till the background
is almost dried. And then you can do
this sort of thing. I just want to lift
off that paint. Kind of looks like maybe here coming off the side or
even clear, balance it out. Actually. Sometimes what you want to do as well
is just go through with partially draw it off brush and just lift off a little bit of paint into the background once it's dried. And I'll do that
to just indicate a little bit of light hitting the odd hair or or what
have you you can wet that area and then just lift
off with a tissue like that. Soft enough some parts, some edges and especially even, even in here where it
might look a bit dark. A bit of light or
softness in there helps. Maybe that you do get beats kind of going off
into the into the background, something like the spot here. We can just lift off again, indicating a bit of that. Launch is catching on. The hair. Being careful not to eliminate all of the docks running
through as well. Draw brush, dark paint in here to darken off a little of that section
underneath the hat. Then joining onto the hair. It just connects better. Didn't notice that
they didn't connect. Well. Looks like it's working now. Get a flat brush or use a round brush just to feathering a bit of paint
into that section. More into the eyebrows. Call that done.
20. Female Portrait 4: Light Areas: If this portrait, I've
created a four by five grid, and it really depends on the paper that you're
using now I'm using a 1 eighth sheet
of paper here and boxes that I've drawn in a
four by four centimeters. So that allows just enough room on the sides and the
top and the bottom. Now the portrait does have additional space at the bottom, but the paper just
isn't long enough. So I'm going to just have to improvise just a little bit of the person's clothing
here at the bottom. But I think the most important
things that we have, these 69 boxes in the
corner here for her head, little bit of a neck
here, the rest of it. We can be a bit more creative
and we don't need to worry too much about
the exact proportions, but the facial details
we're going to work on a little bit more
first on this side. So using each of the
boxes as a reference, I'm going to just go
up and I'll start with the easiest 1 first. I'm gonna go with this
corner and we noticed that her hair just clips the
edge of this box like that. I'm just going to
draw a little line on the edge of that box. And notice that IEP
kind of comes through, cuts through this box here, goes through the top like that, then starts to starts to incline almost to this
section here, the books. He had just a little
bit about the middle and the middle of this line. So always look at where
features intersect. Each of the lines.
21. Female Portrait 4: Dark Areas: I taught to start
with the painting and one of the first things
I like to do is to immediately just go into the
face and the skin tones. So I'm mixing up a bit
of perylene red here with little bit of
this yellow ocher. I'm trying to find
myself a nice mixture. Use also a little
bit of this hansa yellow to slightly brighten up. This mic's not too
much I need to add in, but I'll just try that. Let's go in here. This is smooth watercolor
paper as well. So it can at Tom Luke blotchy, if you're not careful,
but we'll give it a go. I'm going around the face. Perhaps a little more yellow
in there would be better. Just a tiny bit more yellow, drop it in, cut around the eyes. But the goal here
is to get a get a general color for
the face like that. Just going around the rod
side of the face as well. I'm going down the bottom here. Same same color. I think that's okay. We'll go down and across
the neck as well from us. Forgotten about that section. We didn't have any
teeth to deal with, so we can really just go over her whole area of
the lips and mouth. Bring that all the way
down here into neck. And I'm bringing
this here's well, this is where I was
saying the drawing the edge of her neck and what
have you is so important. And the skin this and then
we kind of know where to go, where to stop. Of course. Here's a bit of the arm at the base and the hands
are going around the edge. I'll just put it
in a little bit of color there to
indicate where it is. It's not something I want
to focus on too much. That is looking pretty
decent for that first wash. And I'll mix in a little bit of this previous read that
I have is kind of a darker red mixed
with the purple. And I'm seeing if I can
perhaps getting some soft, darker, softer sort of shadows, especially running
across her neck. Further down. Like that quick just
little bits of shadow. We noticed that they
also end up going down her neck into the base here. I'm just trying to indicate
some of that here. Remember not to put too much
water in here because it will it will bleed if
you add too much water. So we'll get some inconsistent
kind of effects in there. Just a bit in there that perhaps a bit of color here on that right side of her face just indicate
the cheekbone. They're soft enough. That usually when you're working on paper that is smoother. The trouble is, is
that it tends to things to lift off
easy previous layers. So finding has to be
the case at the moment. I've just put a bit
of a little bit more on the top of her eyelid, which is little darker. And then also here that's
a little bit darker. On that side. I'm going to try to just
soften this off there. Like that. I wasn't anticipating
for that to be sharp. But we've just got
to play with it. We're just going to go you
just got to go with it. I think if we added a few different layers
and go over the top, It will be fine. You just got to deal with
how it looks at the moment. That shadow here on that
broad side of a face. I'm just indicating
almost a bit of that. Just a little bit
of that softness soft shadow running on that right side of her face
because we are of course, in trying to indicate some
kind of shadow and that's what my goal is in this scene to indicate that the drama of
the light, this as well. So if I have some
of these in here, some sharper sort of bits
and pieces in there. I think that'll be interesting. Again, this is drawn a
little bit interestingly, but I'll let it, let us stay. Stick with it and continue on. I do notice this part of
the neck probably needs a little bit more color in
here. I'm going to just Darken that down a little bit. And that's drawn onto the right-hand side
here a bit more. Now you've got to deal
with her hair as well. It's kind of an orangey kind of color and I've got the
perfect color for this. This is productive. I burnt orange mixing. I didn't get to
granulating golden orange, which is the case when you're
looking at quinacridone. They just have a sort of
golden sort of color to them. I'm going to use this just to
put in a bit of that orange and you can see how
vibrant that is already. But it's, it's a
rich sort of orange. It's not an excessively
vibrant orange. But what is pretty,
pretty vibrant? It's not something
like a pyro orange, which is really going to
pop out this little darker. I think it's perfect
for what we have here. Just going around here, I'm gonna do the
back of her head. Notice how I'm just trying to
get in a little indication of the lighter tones and her hair because
we're not really trying to put in any of the
dock and stuff just yet. I want to go with
just a quick wash. Wherever this back section and watercolors is all about
layering, wet layers, you're not going to
getting that final color until too late us have to be
patient and stick with it. And while you here as well, one of the things I tend
to do is since I'm here, I can put in a little in a bit of a hair coming
in from the side there, maybe a little bit like this. So that's just checks at two, it will be hitting the
side of the face there. I do have another brush, especially brush that I
use called a fan brush. This is fantastic
brush for getting in some soft little hairs that will assist me in blending the forehead
with the hairs. Otherwise, we're going to have a too sharp of an edge there. So let's give this a go. So I'm just going to bring
this around like this. And we know that sort
of starts off kind of coming around like that
very, very light wash. It's almost almost just water. But we can already
start bringing in a bit of the hair into
the forehead like that. Creativity of texture over
the top of that previously, which is now started to dry
off little bit around there. The reason why I'm
leaving this rabbit to dry loose because I'm the head there is going to form a sharp edge
against the phase. And so I don't want
to I don't want to go in there just yet until
it's completely dried. Another thing if you go to
filbert, filbert brush, these are fantastic for just
blending that the edge. If you've got parts
of her hair that just maybe a two shot
and the full head. This is what I do
and just sort of grab that filbert and lift off and blend in some
areas like this. And that's going to look
a bit more natural. This, we just got
to remove a bit of an edge for the full HD and
make it look more natural, like the hairs are
joining on this. There's no easy way to do this. You just have to go
in slowly and do it. That's certainly a stock. And I also pick up a little
bit of this neutral tint, mix it with the orange. Then you're going to
get yourself some of these darker tones
in the hair as well. This, if I have myself, let me say maybe like a blue flat brush
will be easier to do. Flat brush. To just dry it off, of course, sort of grab a bit of
that paint and mix it with that orange
dry off that brush. And the reason I say
draw it office so that we can get in some broken edges and we want to leave
in some of the Sun, but a fair bit of
the orange on there. I don't want the darkness
to overwhelm everything. And eliminate some of that color in a is just going to go through and put
in a bit of darkness here. You can even go pretty dark down some of the bottom
sections in the corner. Over here. Just
underneath the ear. As long as you drive that
brush and create some of these softer edges. In that section,
even around the ear, you'll find drawing out the year a bit will help actually create more contrast for
the oranges because a lot of a lot of
beginners inboard of colors tend to avoid
using a lot of the docs, but the ducts when
used appropriately, really bring out all the
sections of your paintings. I find that being a bit brave at times and
just giving it a try, it doesn't work all the time. It has to be balanced. Certainly know a lot of
times where I've put in too much too many dark regions and things and has
not worked at, has looked a bit, has looked at the odd or
just to be unbalanced. It's just about
finding that balance. And notice all the docs, I'm using four tones. In some areas, I'm using
halftones and quarter tones of the dock here where I'm maybe anticipating a bit more light hitting the
top of her head. I've used some halftones
and then here I'm in, I'm also going to do
a really dark tone. I'm just going to guess
and put it in like that. Just something like that. There we go. There we go into full-time
there on the right side of the face and awesome
server outside of here. Again, just shaping a few more of these strands like that. Coming down onto the rot. Picking up more of
this dark paint here. And this is where we want to, of course, take a bit more care. What I'll do is actually mixing. I think what the best course of action is to mixing a
bit of neutral tint to this orange so that
I get a really dark, juicy sort of orange in here. Grab that, put
that in like that. And this is important with
shaping the side of a face. So you only get one chance
at least cutting around. Of course, I think some of
these edges I'll have to soften up a bit more later. The cheekbone and I refer to the reference picture a little bit more when
I'm doing this, to come down here. During this sort of
outline of a face. The chin. There's anything that you
want to pull to hear. Maybe you've done the face
a little bit too wide, the chin and a little bit too
large, that kind of thing. This is the time to do it using this sort
of cutting around methodology as I'm going
I'm doing right now. You only get one chance
to do it at this stage. A little bit of that
darkness there. Then I'll grab a bit of that orange and drop
that straight in here. Trump that orange trained him and if he dark and
off this section of the hair modes
darker. Like that. Always the temptation to try to accomplish too much in one
wash and always remember, you don't have to do it all in one wash is a maximum amount of detail that you can
getting in a single wash. And you need to remember to
layer as much as you need to. Try to stick to only a couple
of 22 to three layers. Because I find that by
using too many layers, you tend to lose that
beautiful vibrancy that you get with watercolors. But with that said, I
have seen many otters that layer, watercolor
artist layer. Accordingly in 19 get a lot of items even with a whole
bunch of different layers. So use as many as you feel is required to get the effect that you need in the right tone, it's better to have
that right tone in the right color in there. And take, use a few more
washes than to have the wrong tone and
have a kind of wishy-washy painting at the end of the thing Jesus should have, I really should have gone Dhaka. It's really just that layering person's cumulative
process and be patient while you're
doing it because it won't look at times
like it's working. It's an illusion. It's all an illusion to
you to, in your mind. It's almost as if your brain is telling you it's not working. It's, it doesn't
look like anything. But the interesting thing is, as soon as you start
putting in some of these dots indicating the form, a bit more, suddenly your
brain starts to see things. It's almost like you
have to believe in it before it actually comes out on the page you have to see to see the final result
in your mind's eye. And then go with that and
have that belief in yourself. Even if what's going on on the paper doesn't look
exactly like or even anything like what you
think the final result is. So a beautiful idea here. I know we just need some
darkness in here and that's the part of the EMS
made a little mistake there, but unit sort of sticks out Colon, I'll
show what it's called, but that part of the ear,
little shaping like that. A bit more darkness in
some of these sections. And I'm using this brush, the edge of the brush that
indicates some mixture. It's a darkness and things here that's just
a sign of a jaw. I thought I'd put in a bit
of extra paint in there. In other bit just running
across the top like this, layering, super important. Another one there. There. Certainly getting there
may be a little early, but I think what will be
good to do now is to put in a little basic would've been
a basic color for her eyes. I've got a small round brush come to exactly what
color of eyes I think this sort of greenish blue
or something like that. So firstly, we'll go in and just dropping
a bit of maybe I'll put it in a bit of swollen bit of ultramarine with a
little bit of turquoise, with a little bit
of undersea green. Dial it down a little. And they're pretty dark as well. But just a little
color in there. Just to start off with certainly not
much detail just yet, but a little bit in there. To begin the process. I think that looks okay. I'm going to go in and put in a little bit of her
eyebrows as well. So quiet, dark, that kind
of a brownish color. I'm going to mix a bit of brown and neutral tint together. And I'm gonna see if I can
really just get these seen. One go. And then we know it
starts off like eyebrows, they're kind of just go off
into the edge of her face here. Something like that. We'll do this eyebrows as well, just a few little bits here. And we know it kinda
comes all the way down to a point around there. Good start. We can continue just to
shape this as we go on. I think that's a good
beginning point. Again, go into the
eyes a little bit. I'm going to put in
the top part where the eyeliner is here. Be a little bit in there
for the pupils as well. Be a soft paint running
through in the end that hopefully like blends with
the blue a little like that. Good. The top part of the
eye, the online. Again, to shake this one on
the left would be better. It goes up and comes down. Good. Little bit of the
eye bottom of that, either some of the lines
that are coming off nostril indicate whether or not true is here and then it
rots onto the nose there. More than Australia. I think we'll also go into
the math a little just to put in the edges of the mouth. Goes up a bit like that, then it comes down, then down on the edge. So that right-hand side
as well like that. Darkness underneath here. Soft, softened up a bit as well. Go do that softness
underneath the lip. Also start putting in some of her eyelashes
and what have you. But really with the top part of a face here with the eyebrows, I just want to perhaps put
one more layer over the top. Layer over the top just
to darken it a bit more. Something like that. Grab some of these neutral tint. This is perfect
just to do the eye lashes and a bit more
of the detailing here. So if I just go let's see if
I can get one in like that. Then getting another one, they're kind of just
go down and then flick upwards like
that, like that. And the bottom one,
the bottom as well. And this one here, of course, coming out from the side here, tend to find that the dominant side will
be easier to draw. The lashes would just
be easy on your, on your dominant side. Non-dominant sciency
sort of for me, I'm right-handed
and left-handed. Features on the left-hand side, I do struggle with a little. Lou more. Take your time. That's the trick. The advice that I
have for you here, just with the lashes, they can only be done
once in watercolor. They'd look a little bit funny when you go over
it too many times. I've always found that the
faster that I do them, I mean, assuming that I'm going in with with enough
accuracy as well, they just tend to
look better than if I sit there sort
of tortured over trying to redo them
and get them exact. Just one go like that. It should be sufficient. I'm going to outline a nostril, lewd or more as well. Again, we're going to have some shadows coming on the
right side of the face. What happened actually
painted these shadows in yet, but there are mid tone. We want to be so careful
that we are not, of course, getting going
over her eye lashes. You want this tone
to be just slightly lighter than the
eyebrows as well. Let's have a test. They're gone way too far down. I didn't I didn't want that to happen on hand. Save your life. At these moments like that. However, I probably have to redo that eyelash out of my eye later on going across because we don't want to go
across her eyelid. Just going up into
the age like this. Connecting it on there. Just a bit of a shadow
forming the edge of her nose like that. Once it starts looking okay. I really recommend
you to believe it. So many times where I've been pleased with
how something looks. And then I thought,
okay, you know what, I'll just try this
one extra thing. I'll just add in just
a little bit more. I've stuffed it. Shadow
here for her nose, which comes down like this. Comes, comes down
like around here. You're going to give
a bit of shadowing. And I as well. Which goes down the page to really depends on how exaggerated you
want to do these. I'm going to soften this
off the edges to create a little less obvious that lip. Of course, this is going to be quite important that we get a bit of this shadow
here as well. That it just looks
consistent with the rest of the shadows on the right-hand side of
the face but softened up. So we've done a few things here. We've softened off. We've added some shadows in
underneath the eye, the nose, the mouth in a light
sort of mid tone color. And then I've just lifted off bit of the color on top
of her eyelid there to indicate that light hitting
the top of her eyelid? We've continued I'm essentially
just continued downwards. So shadow here on that right
side of her mouth actually, it should be darker if I just darken this up a
bit more like this, and then just soft enough
the edge like that just to create an
impression of this shadow. Same shadow pattern
that's running across for how the
sides of her face here, the nose, especially that
little shadow there. We do have a little bit of shadow here underneath the nose. Really just had so
much water that I'm using with the tiniest bit
of neutral tint in there. And you will find that in
when you are doing portraits, the total variations
as just so minute. So minute at times that you can barely discern what's the changes
with the naked eye. You really have
to concentrate to see exactly what is
going on in there. So here I'm just picking up
a little bit of red paint, a little bit of red,
diluting it down. And what happens is that it
tended to a pinkish color when it dries when you
use a very diluted red. And this is just a
purely in Scotland. And I want to use
this to define how the lips a little bit more. They do actually have a slightly more sharp edge
in this reference photo. I do find that in
the corners as well. There's a bit more darkness
on the right-hand corner. So I'm going to just
darken a little bit down on that right-hand edge. Corner of the top lip is
dark then a bottom lip. Very, very slightly,
but I won't blend so that it comes down and
then the bottom lip also creating a bit more darkness on the bottom of her bottom lip. Like that. I think that looks. It looks okay for now. What other changes are? What other things
don't want to add in potentially for AI as well, I do think this
additional darkening near the edges of her
eye here would be good. I've just put in a little
bit of darkness there. The eyelash here as well. I want to get a sharper, more elegant looking eyelash
coming in from that side. I'm really pleased
with how that one on the right-hand side
has turned out. I'm thinking, should I add
another one and another one? Should I test? Should I push it? Why not
putting one more here? And the darkness of
the eyelashes combined with the light on
top of her eyelid. That really makes quite
a big difference. Even just this little edge here, just preserving a bit of
that skin tone there. Tricky. I'm just
lifting off a bit of that last year because
I've gone too far up. You find that the lashes, which are over here on that
right-hand side will look longer compared to
these ones here. G20 foreshortening
effect because these lashes to
facing you directly. And so the curvature of them and the length of
those lashes will not be as apparent as if you're
looking at an object from the side and the lashes from the sides such as
that one there. Little bit more for
them, for her mouth. Potting of her lips
is probably one of the most important
things to put in here that we'll look at
the other eyelashes. I'm fairly happy with
how this turned out, but I did like the volume of these eyelashes on that
right-hand side a little bit more actually because they look like kind of like a clump of them running through on
that right-hand side. They just looked at a
bit more better done. But I think I'll leave this because if I go
into it too much, the risk set those just
stopped looking too much. Having too much
going on in there. I think it already I think it already looks like what I want
it to look like. So here we go, a little bit of
the little bit of the edge of her eyebrows, shaping them a little more. Notice how I've created the
shape of the eyebrows by simply going over and layering various strokes
over the top like that. Notice there's a
bit more darkness on the right side
of the nose too. I want to indicate nose like
a tiny bit more of a noise, especially the the darkness. Slightly maybe behind the nose. Very, very light color. The bridge of the nose bridge. Just to straighten it out
more, something like that. It's not exactly as I intended, but it's close close to
what I need it to be. Okay. We need just a little
bit of color there. Victor knows has
got a very slight, very slight, dumb Nokia. Very slight. And look on this section there. Fiddling around, fitting around a lot with the same
sort of things and be more of eyebrows. I tend to dry off, like I was saying before I
dry off the brush before I go in to do the eyebrows and what have you Because it
ensures that I don't get too many harsh lines
running through too many. It was almost a feathery
kind of look to it. Very, very important to create
more of a subtle effect. Here we go. Of course, use that bit
of the nose as well. The shadow of her notice I'm calling redoing things again. Sometimes this is
necessary where you go through and you
perhaps find that some areas are just
not dark enough where you want to emphasize
contrast and some pots just redo it
like I was saying before. I do tend to try to
stick with having only a few layers and
all my paintings. However, if it comes down to getting in that tone that
I really want to get in and just leaving it and having fewer layers
just for the sake of having fewer layers
and more vibrancy, I try to make sure that I get in that tone.
Go ever again. And 22, I got a ride to
one satisfied with it. Bear in mind though when you go through and do
this sort of thing, you agitate those
previous layers. And you may end up with results that you are not pleased with. A rule of thumb and for
good practice on say, try your best to accomplish
what you need to accomplish. In terms your tone,
your colors in roughly two to
three layers, max? I think I'm done with
a face that might be perhaps another little bit of something here that I can add in For part of her face. But I do like the fact that
these kind of looks like a highlight on the
left side of the face. One thing I want
to emphasize a bit more is the color
underneath her neck. And this is going to draw out
her jaw line very slightly.
22. Female Portrait 4: Detailing: Going in and I'm going to
pick up a bit of this. We've got here, it's
really just a bit of red, a little bit of the
yellow that I had before, mixed in with a bit
of the neutral tint. And I'm going to
redo this section. That's a bit tricky. But I'm going to redo that cut around the edge of
a jewel like these. And I wanted to just darken
down that right-hand side. A bit more neutral tint, tiny bit more neutral tint. Looking at a shadow around about the same tone as they're, they're, they're the
right sides of the face. This needs to connect
more with her hair. Dark, bit more like that. Even if it's a sharp shadow, I'd rather have a sharp shadow on here than nothing at all. We need to really imply that light source coming in
from that left-hand side. I think. Like I said, I really
liked the kind of the dramatic light effects here. The jaw though on this side is starting to look a bit
too sharp because I've added the students kind
of sharp edge on this. So what I wanted to do is grab my trusty filbert brush and soften a bit
of that jaw line. But before I do that, I'm going to drop
in a little pink, tiny little bit of pink
onto this area here. This, in a way we'll
soften that if I can get it done with just this one little
brushstroke like that. I prefer that rather than
messing around too much with the filbert brush
because it's going to agitate some of those
previous washes. And I'd prefer not to if I
don't need to here as well, I need to just indicate. I know I did say I liked the highlight here
in that Simon face. There's more softness
in here that I need to indicate with the
kind of these red. I think that the red would be nice to kind of make it look like she's got some
rosy looking cheeks. And of course then it blends up until a slightly lighter
color up the top there. And down on that left
side of the nose, there's a little
bit of color here. I'm little darkness. You can see it's very subtle, but it indicates left
side of her nose. And you have to be
very careful with this as well because again, the light source is very
strong on that left-hand side. So any indications of line or facial features on this on this end
it's not gonna be, not gonna be so parent. He's a bit more pink. Every time you go in
and you do stuff like be like are saying
You kind of risk. Risk something happening or an edge blending or
something like that. You've got to be
sparing technique. Especially when you're
working on paper that is a little bit more smoother. I'm trying to just blend. Really trying to blend with
this brush a bit more, soften this edge again. Just constant, kind of
constant work really. But here, the
cheekbone actually has a little indentation
here on Earth. So just darken their mood dark
and then soften that edge. Always just feeling like I'm just always going back into things and changing it up. I don't know if it's just me, but I do feel like now
that Sheikh looks too red. Have an occluding a bit of
yellow in there like that, soften that up and create a bit more
warmer color in there. I do find also by putting a little bit of red in the nose. I don't know why,
but it just makes it look like pop out a bit more. Here's a bit of red. One on. Let's just put in a bit there. Let's see what happens. Out of that Joel line,
which is darker. Dark and often areas
again, lend soft edge. It's a very soft edge
where jaw meets a neck. I'm approaching this
conservatively so that I don't create too sharp of
an inch. We had drawers. Like I said, a few layers
to do that then. So be it. Coming down. Little pink, That's
pretty good of pink here on the
left side of a NIC. And the reason why
is I just want to soften that shadow
off like that. I think I've played around
in this section of March. So we'll leave this
leave this be, um, another thing, top
of the eye as well. There is a little softness, a little darkness
on the top of her. I just picking up color. There is already
some wash up there, but I'll just adjust like that. Soft in this line as
well on top of the eye. I'm going to leave
her face for now. I've really working
on that a lot. And we'll be picking up
a teeny bit of blue, cerulean blue that I've got. Let's just drop that. I'm just going to drop
that straight into the, the colloids like this. And I think this is a
great, great little color. Going to contrast a bit with all the basically as with all the
other stuff that's in here, warmer colors and what
have you going around? Some reason this
ruling that I'm using is all bubbly and weird. I don't know what's
going on here, but we'll continue on. We continue on. I'm just mixing a bit of
ultramarine in here. Actually this is very strange. But anyway, continuing
down and I'm going to just put in we go further down. Then we go to sleep. I was just having a
look whether this leave had some white bits on on on it. That's it. That's not really
that much to put in here, a little, little
bit of darkness. What I do is that I pick
up a bit of ultramarine, mixed it in with some neutral
tint to get in a cool, dark sort of cool color. And what we can do is just
simply drop it into areas where we want to indicate some softest sort of
folds in the fabric. I don't want this to be too detailed on a clothing
can be too detailed. The reason why is I want
the attention to be more focused on the face instead. But it does make a
difference to have a few little dark spots
running through her clothing. Adds realism to the
clothing and without it being too overpowering. Here, there's a little bit of the shoulder there
and then the edge of the clothing here and then the folds of
the sleeve here where it meets up here and forms a bit of
a connection here. Even a bit of darkness and darkness underneath
the arm here, the back. It's really just dark all
the way through underneath. The good thing about
this is that it creates a negative shape around
the arm, forearm here. And I was just kind of
fussing about before. Wasn't sure exactly whether
to include that arm or not. But I'm glad that I
did because it creates a little balance where it
really needed some relief, a little bit of relief
from all the blue. And the blue times. Now does have a little bit of shadow underneath here,
which I'll just put it in. Just one little line like
that and soften that edge. I'm just worried here because
I'm gone up a bit further, but I'll soften that edge,
but you don't need to. You can even leave
it as that kind of sharp edge if you'd like to. I'm like that, but the top of her arm is going to be
a little bit lighter. Of course, here we go. We've got to just add
in the background. I'm going to use a flat brush. Colors in terms of colors. I'm going to go
with muted colors. And perhaps some
abstract muted colors. Here. I'm just going to
put in a bit of brown. That left-hand side. Here. What you'll find, oops. Dropped in some
color into a Hey, we don't want that lift off. What you'll find
is that it's a lot more effective when you
put in some colors. In the background. Here. If you've got a lot section, she's got some lighter
hair over that side. I'm gonna be using a bit more of a darker mix of paint. In here. I'm trying to use some
granulating colors as well. I want these to be
quite dramatic. Cut around a hair. Don't worry too much if you start going into hair,
into a hair bit, but keep the the shape, general shape of the hair. Because if you lose that, if you lose her hair
in all these darkness, not gonna be able to
see the CEO later on. It's not going to make sense. A little bit of cutting
around and I'll show you a technique
in a moment. How to kind of getting bit more. Some highlights
running through hair. So I'm gonna go all the
way to the edges of this. Actually just go all the way
to the edges followed down. This is a brown that
I'm using a brown and a bit of ultramarine and brown. I'm like, I don't want, I don't really want too
much too much vibrancy running through here. Just a bit of drama like that. Here we go down that side
of the bottom bit of red. Haven't put a bit of
red for some up here. That I think that looks nice. Just read. Sometimes I just adding colors because the colors
are emotive way. And sometimes if you want
to imply the feeling of a, of a person or character
that you're painting. Just splash of color here. They can really indicate
something like that. Perhaps the inner thoughts, workings of that particular
person or character. What I'm doing here is
I'm adding in a very, very light wash on that
right-hand side, just a very, very light color because we've got she's got really dark
here on that right-hand side. If I add in a bit of light here, this is then going to contrast a bit with the
darkness on the left. But again, I'm trying to
keep this quiet muted. If I can grab that brown again, I think I'll put in too much. I shouldn't have done
that, but just a bit of that and the
red kind of moving across down so that it has a kind of a
smoky looking feel. Running down the page. More here. Let that blend in
and create some kind of this smoky effect. Where and where it tapers in and goes closer to
her down the bottom. I'm going to again
pick up darker paint, mix that together, create
more of an edge like this. Down here. Great. Pretty much got the
background sorted. I mean, it's really up
to you if you want to go in there and add in
a few other colors. I think a bit in the corner, a bit of darkness in the
corner would be good. But I'm generally
pretty happy with how that background looks. Finishing touches,
just looking at ways to blend the background
with the figure. Before I do that though. Before I do that, what
I want to do is just add in a little bit of color to the bottom of the the bottom
part of her clothing. Just to bring out some details again on a
client's some sharp details. This is just a bit
of dark and paint. The edge of her Here. Bit of darkness underneath
here like this. The base, this is
just neutral tint. It's nothing special,
just a beautiful, darker neutral tint. Because what happened
before is that you've got kinda had to obey, draw it off in it and we've lost some of that
darkness in this. This is just a bit of Extra paint and I
want to add in, this is hopefully
going to blend in with the background
a little bit there. I can go in and start also indicating a bit
of the background. A bit of darkness here on the
left side of her shoulder. Blending with the background. Of course. That's one thing I
thought I'd put in there. Finding a way to see if I can just connect it
on with the body. And then that pot
there, like that. This pot hue or kind of goes onto a hair a little
bit like that. Soft enough, that edge bit more indication for that
section and a bit of darkness underneath this
part of her shoulder. Dark underneath here as well. Softer little bits,
some pieces like this. Leave that to dry. Everything is so dry it off
now and I'm gonna be doing some final touches to
bring everything together. I think that 95%
of the way there, what I want to show you
is a little technique that I call basically
just lifting. And you can use a
filbert brush or any type of round brush really
to go ahead and do this, it's all dry there. So just keep that in mind when I'm doing
these techniques. And what we'll do is basically just wet a little bit of
this section like this. And the back there
with the tissue. With a tissue, we
are able to lift off a little paint here and there so we can do it
in sections like here. The whole point of this
really suggests create some little soft edges that hopefully just blend
into the background. Even here we can create one
little soft edge like that. Little bit here as well. Just lift off and find some spots in the scene that
you might want to do this, use this technique over here. I feel like maybe a bit of
lifting there would be nice. It helps to join it
on the background a bit more so that we've got
just a little bit more. Joints would have seen. Having some of these
softer edges combined with some darker sharp edges is
actually really good recipe. When they combined together. That's what I'm trying to do. Soften off some of
these edges a little. And often with hair as well, we do find that they do have soft edges here does have
soft edges and certain, certain bits, especially when it comes
out of a lot as well. So that's what I'm doing. I'm just trying to imply
that through here. And I might even, for example, try to get in a softer
highlight in here like that, just a little highlight like that running through
the kind of looking like a bit of there are lots of hair and you've got a little bit of that previous color
showing through. So it's a little technique
that I find very helpful. We'll go through
and do a few more. So like maybe it'd be here, for instance, like this. That's a little lighter,
slightly lighter. Let's put one coming
through here like that. This lengthen this one out
a little bit like that. This one he kinda just imitates, imitates the reference picture because there are some hairs actually that are catching
some lot like these. The back of her head have noticed also just
over on this side, the arm is just not wide enough
around top section here. So I'll try to just add in
a bit more white paint. Off the top. Just want
mixed to be yellow. To try to get in teeny bit
more of her arm up here. It's not gonna be perfect, but I'll think that's
about the best I can do. Sometimes you do have to accommodate for
this type of stuff. Not exactly her
skin tone as well. Let me just add in a little
bit more yellow and this is just a bit of titanium,
buff titanium actually. Giving this quick
little shrines, basically getting a little bit
of this skin tone in here. Okay, that goes around the
edge and disappears off here. Then I have to really
worry about that. Just wanted to increase the
size of that arm a bit more. Look underneath Lu
darkness there. I have not really done
too much underneath. Looking for other
opportunities to soften. Bit. I think often a bit there. The final touches usually I
pick up a bit of white wash. Wash. I use that to put in some final final
little highlights to ensure out the remaining
bits and pieces in the scene. Underneath the ear, there's a bit of an
earing there which I will just add in some white
gouache to get in some, just an indication of highlight. That. Getting a bit more. A bit more. It's kind of like an earring that
just runs down like this. Difficult to see, but
it's certainly there. You can also put in
little highlights, four areas of the
nose, the mouth. Tiny tiny spots are I'll probably wouldn't
overdo it though, just something little like that. Kind of spots the hair as well, I think makes a
difference if we can find something that reference
photo to indicate some, just mix up a bit
of this yellow. A yellow until the gouache
and see if we can perhaps find a few strands
to put through here. Have a look. Maybe guys. So here's a little
thing you can just use this to indicate a
few quick strands. The trick also is to not overdo it because it's easy
to go overboard here. So just a few little bits and pieces in here and
that's the throat. Then try to change up
the composition or to make it look
like anything else. Redo the hair or
anything like that. Just a bit of little
finishing touches. I do find the lifting
technique tends to be the best, the best one. So just putting
in a bit of water and then softening a
little section like that. Even coming across the ear, a bit of hair coming
across the ear like that. It's simply lifting
off a bit of paint, looks pretty subtle
and works quite well. That one's finished.
23. Class Project: Your class project
is to draw and paint your own watercolor
portrait using the processes and techniques
covered in this class. Pick two or more
of the portrait is shown in this class
and try to paint each portrait demonstrated by following along to the video. Try to spend as much
time as possible on the drawing until you're
happy with how it looks. If you're feeling adventurous, how about changing some
of the facial features or trying some different
color combinations. If you've completed the
portraits feature in this class, find a reference photograph of a person who you'd
like to paint. Consider trying to paint a family member or
even a loved one. As you'll be more familiar with their facial details and feel a personal connection
towards the subject. Using the techniques and
processes shown in this class, transfer the reference photo
it over to your sketchbook or watercolor paper and
paint with watercolor. Once you finish, share your final portraits and
progress shots with the class. By uploading to the projects
and resources section. If you have any questions
or need more tips, please let me know.
I'm happy to help.
Watercolour Mentor (Darren Yeo Artist), Art Classes, Mentoring & Inspiration!
