Watercolour Portraiture Essentials: Painting Skin Tones

1. Introduction: Hi and welcome to easy watercolor portrait painting, understanding skin tones. Portrait painting is challenging for both beginners and advanced payments. By the end of this class, you'll be able to easily turn any photograph into a realistic portrait. Paint along with me and learn my portrait painting process. By the end of this class, you have some amazing portraits to hang on your wall. In this class, we mainly focus on how you can recreate and magic any skin tone by mixing only three to four colors. We use the greeting technique to create accurate portrait drawings that will form a strong foundation for your painting. In addition to the greeting technique, we'll also go through how to draw a portrait free hand. I'm going to simplify it, the painting process for you by showing you my two-step process in painting a watercolor portrait, keeping colors fresh and vibrant. We'll go through how to paint different skin tones using a limited range of colors. How to sketch and paint eight different portraits based on eight reference photos. We'll talk about how to quickly draw faces and portrait. So I'm a reference photograph freehand. And also how to use the greeting technique effectively. Paint various subjects in different poses and lighting conditions. And I'll show you how to lay a paints to add color details. In addition, we'll go through how to use essential watercolor techniques in the context of portraiture, such as wet and wet and wet on dry. I'll show you how to determine a light source and the correct use of values in painting. This is a feature pet class, not included many demonstrations to provide you more opportunities to learn how to paint different subjects. If you're ready to boost your portraiture skills, join me in this class and let's get painting. 2. Materials Required: Hi and welcome to the class. Before we get started, I want to talk a bit about materials and how that's going to relate to you. With portraiture, painting, it's very important to know because I do use a variety of materials in here to demonstrate some of the different effects. That includes paper, that includes brushes. Mainly though I would say it's more the paper that makes a big difference when you're doing portraiture. There's two types of paper that you can use. This hot press paper, which is this stuff here. And there's cold press paper or textured slash rough paper, which is this stuff here, here. So basically in this entire class I'm using mainly hot press paper for this particular portrait, I do use cold press paper. Difference between them is cold press has a smooth surface, hot press has a textured surface. And basically what that means is when you are painting, essentially trying to paint softer shapes, you're trying to get a bit more blending. Cold press works a lot better. The paper takes a bit longer to dry and you get a lot of soft edges. You can get these really nice soft shadows on the face quite easily. And there's not too many cauliflower like effects. If you put too much water in it a bit more forgiving than using hot pressed paper. Now, I use hot press paper because I do like the final outcome of the portrait. Assuming that I've done it well on hot press paper, it looks a bit more detailed. The details are sharper or find the colors are more vibrant. And with hot press paper, the paint mainly sticks on top of the paper rather than soaks through. That's the main difference. Now, use whatever you have at home. I'd recommend trying out both to seeing where your interests lie and in terms of your style, what it works best for you. However, I've chosen to go with the majority of the time with hot press paper. That's about it. Don't think I have much else to speak about in terms of paper. You can also use cellulose paper. Cellulose paper is basically non cotton paper. Now, I do use a 100% cotton paper, which also makes it a lot easier to lay out. If you do have a 100% cotton paper where you are watching from, I recommend purchasing that. And you're going to have a much easier time layering colors with the cellulose paper, which is often not labeled as cotton. That's how you can tell what cellulose you find that as you layer and two layers or three layers, it starts to lift off the previous layers if you're not careful. So here is my palette. I want to talk a bit about colors, and surprisingly, there's really not many colors that you're going to need for this class. You'll find that in all my portrait paintings, I use mainly three colors. I use a bit of yellow ocher, or be it a Ponzi, yellow normally a bit of yellow ocher, a bit of perylene read, or you can use scarlet red pen and read those to work perfectly fine as well. Those two mixed together can mix up most lighter skin tones. Now, tens of darker skin tones. I start to get into some of these browns here. So I've got a bit of burnt sienna, and then over here a bit of burnt umber. These colors mixed with your red and the yellow ocher do produce a darker skin tone. And you can get a much more varied range of tones there. I tend to also mix in a little bit of blue at times, just neutralizes some of the warmth in there. Some people have a little bit more of a cooler skin tones. So that's why adding a bit of the blue at times, but it really depends. Often see me using the color-code neutral tint. Neutral tint is basically just a convenience color. It's great to pre-mixed gray and you can mix it by combining the three primaries. So if you've got a blue or red and a yellow, mix those three and you'll be able to get this gray color. Basically, I use that that makes to darken up some of these other previous mixes of skin tones to create sort of darkish shadow times that I can adding to the face. Other colors that are used, mainly just for backgrounds and for a clothing that the people wear. Sometimes you might find some of these lighter blues having one lighter blue or teal color or something like that works very well. I do have a darker blue here. That's an ultramarine blue that I used from time to time. I've got a green, purple. I love using purple for backgrounds. But that's essentially what helps also is that if you've got a tube of white gouache and whitewash is basically an opaque pigment. Just a bit of chalk added in, essentially to normal watercolors. And it allows you to get in little finishing touches, little highlights at the end. When I do things like the little highlights in the eyes, just these little white dots in there. That's what I'm using right at the end. And it makes, makes life a lot easier for you rather than cutting around. Okay, so that's it. That's all you're going to need for your colors. We're going to talk a little bit more about brushes now these are a whole bunch of brushes that I have. But luckily for you, you wouldn't need all of these. You're going to need a few of them now. Brushes, I always say trues brushes that fit the size of the paper that you're painting on. So for example, if I'm painting on a piece of paper like this, which is about 1 eighth sheet, or perhaps A4 size depending on where your weight we are at. These brushes here, I completely fine. So a3, a3, a4 size. As you can see, there's enough of a paint belly, the paintbrush belly, and enough of a point there for me to cut around all the details and be able to get in a large wash. Now, I wouldn't use something like this, this enormous brush to paint over the face. It's just too large and you're not going to get rid of all those details and make a mess. Might use this for background, but really that's still not too necessary. You can even use a larger brush like this to go around. I do have these main mop brushes that I use. Now, other brushes that I use, basically some synthetic ones. I use these number for number six round brushes and they're fantastic for getting in little details like eyes, lips, bits of the nostrils, little bits of the hair. These work very well. You're going to need some of these detailing brushes. So a small round brush from size to size six will do your font. Just check that the tip is, it has a really sharp tip That's going to and make a difference. This is an extreme version of a round brush. This is number 0, round brush. Look at that. It's so tiny that tip. That's also good for doing eyelashes habit. It's not necessary if you go to small round brush, you can get away with using that and number two to four round brush. Now, other brushes that I use, essentially just these flat brushes and what do I use flat brushes for? Essentially, I use it to get in backgrounds to cover large areas of the clothing. Sometimes lodge or the skin. When I'm cutting around the chin area to dry out the jaw line. I also tend to use these flat brushes because they give a nice crisp edge. So that's, these are some other brushes you can use. Now, I also have another brush here which is called a filbert brush. And if you look at it, it almost looks like a round brush. But it's not, it's like flat brush, but with the ends kind of tapered and manicured in. This allows you to create soft edges. You can also, you can also use round brushes to create soft edges. Even a flat brush, you can use it, but I find this makes it easier. Apply this to sections of the paper that I want to soften. An example is here. This line running through the subject's face. It was a bit too harsh. So what I've done, I've just gone through and put a bit of water in the filbert brush, it dried and just scrub the bit, scrubbed a bit and let it blend. And sometimes I put a bit of tissue that had liftoff as well. So that's another little tool that I tend to use. So all in all, you only use a few of these brushes in each painting. I mean, it's maybe too much is that That's nine brushes. In practice probably only use about four or five of them per painting. There's not all that many brushes that you need. Always makes sure that your water is clean. Make sure that your palette is also clean when you starting off mixing flesh tones because some darker colors can get in there and maybe some greens and it can really mess up those hue. So make sure you clean your palette. I tend to just use one little bucket of container of paint. It's about a one liter container of water. I mean, just allows me to not have to change the water all too often. So I can usually paint maybe two portraits before the water goes to dock to continue. So that's all that I wanted to talk about. Thank you for watching. And I'll see you in the next video. 3. Transferring Your Drawing: One of the important parts of this class is how to actually get your pencil sketch onto the paper and pencil sketches so important because without that, the accuracy of the drawing, it's gonna be very difficult for you to concentrate on the painting. So there are three methods that you can transfer your painting over. Now, the most simplest method for beginners, and especially if you're not too interested in drawings that you can actually trace. I have included the tracing templates as well as the original photographs of all the portraits featured in this class in the, in resources. So you can have a look, go through and find a particular image that you want to trace and open it. Now, one of the little tricks that I've learned over the years is that you can actually open up an image on your computer, lodge in it, sort of zoom in and then put your paper up onto the screen, turn off all the lights. If you're in a dark room, it works very well. And you can actually trace the general outline of the portrait. It's a bit difficult on 300 GSM paper, but it does still work. So that's something you can do. I find that's probably the easiest way to transfer over the drawing. The second way that you can transfer a reference picture over is by using something called the grid method. I've got a little example here of what I mean by the grid method. This is a transferred image of a child that I did the other day. Now what you do is that you essentially get the original reference photo, whether that be on your computer or a printout of it. And then you just edit the photo or you can draw them in my head and put in a grid going across. It really depends as well on how large the little grids are. Some people who like to work with smaller grids. I tend to work with the larger grid. So here it's about a five-by-five grid or a four-by-four grid. And this just allows me a little indication of where the features are, but without getting into too much detail, without looking too much into it. So it does help you to practice your drawing skills as well, and it greatly increases the accuracy of your transformed image. So if you are trying to get a likeness and you still want to draw what you don't want to trace. This is something that you can do. Now in terms of software applications, there are a few there ASHRAE are available in your, on your phone so you can search in the search artists grid or a painter's grid. And you'd be able to download a variety of free applications there. The computers though, there are certain websites that allow you to do that. I'm not going to go ahead and list them. And again, you've got the old-fashioned manual way of doing grid, which is just printing out the reference photo and then basically applying grid on top. And when you drawing, you're going to be looking here at the reference photo at that top, greed perhaps here. And you're just going to try to draw what's in that grid. And same for each of these little squares. And I tend to use it went on doing portraiture, especially because it greatly increases the speed in which I can transfer over a reference pictures saves me time and increases the accuracy and the overall quality of my, of my artwork. So that's another way that you can do it now It's not for everyone and I don't use the greeting method every time because it can be very tedious. It is very procedural and you can even call it clinical. At times. It takes a bit of the fun out of the artwork itself, takes me to the life out of it, as some would say. If you do everything this way, sometimes you almost feel like you're human photocopier, just a little less efficient than an actual photocopier. I still think this way is better than tracing. If you want to learn a little bit more about drawing techniques and drawing methods, It's like a middle ground in here because your reference photo is known as still going to have some little idiosyncrasies and imperfections and you can do change load of things around. So that's one way. And I do go through the greeting method in this class through a few of the demonstrations you'll be able to see. And I'll actually provide also some resources with pre-made grids and some of the references. Now, the final way, the final way, of course, of transferring the reference photo over is by sketching freehand. Sketching is a fantastic way to, I guess, get in your practice your drawing skills and not be reliant on using a grid. However, even when you're drawing, you'll find that you do use certain markers as references for the face. And I do go over this a little bit as well in one of the other videos. If you have a look in one of the other videos where I talk about skin tones and painting different skin tones. Just a few sketches which I show you how to mix up different paints. I do six different sketches of six faces and I show you just the basics of how to sketch in a face from a reference photo relatively accurately. Now in a very basic sense, you're going to find when you have a face, if you draw a line right down the center region, that's going to be roughly where the eyes are. Divide that within, divide that lineup between there and then the bottom of the chin and you're going to get roughly the bottom of the nose. And divide that again between the bottom of the nose and the bottom of the chin, roughly into half to slightly above the halfway point. And you're going to get the bottom of the lips. It doesn't always match this particular criterion. It depends on the person I do find as well nostrils. It's more it depends on the ethnicity of the person, but nostrils often line up with the inner edge of each eye. The lips, the corners of the lips often lineup with the iris or the pupils of the eye. But again, it really depends on the particular subject you need to study. That subject you need to really study and look at the proportions instance and think to yourself, okay, Does that person to fit this particular roof, some people have a really large lower lip and that lower lip can extend further down beyond the chin. And some people might have really wide faces. Really depends on the person that you're drawing. So the more practice the multidose sketches like this, the better that you get. But I do go through some of those techniques with you as well in this class, but I have simplified things done mostly just to be using the greeting method. And for those of you who want to trace, I provide also the tracing templates. 4. Introduction To Gridding: Again, in this video, I'm going to be going through how to use the grid technique. The grid technique was something that I discovered a few years ago when I was learning how to do portrait painting. And coincidentally one of the most important things to master before you even get into the painting aspect is to make sure that you can have a decent drawing down. Because if you tried to get a likeness or get that photo to look like the person you tried to paint or even draw. One of the most important things is to make sure that your drawing is accurate. That way when you go in, if your watercolors afterwards, you're not having to think about where the eyes are, having to estimate proportions. Everything like that is sorted before you even get started. So basically I have an application and you don't need to have an application is there's tons of them actually on online. If you search it, search for artist grid, you'd be able to find some online. Another thing you can do, get a normal photograph and just draw a grid over the top. So this one I'm using is a four by five grid. So we've got four columns and five rows. Some people do use grids which have very high resolution, as in you might have like a ten by ten grid or something with a sprays and very, very small. I tend not to use grids like that because one, I'm a bit lazy to draw in all the little squares. And two, you just takes a really long time to do that. I'd tried to just get in a real basic grid there to help guide my proportions. But I do like to do some estimation by I, well, to make sure that I'm improving my drawing skills. So for this one I'm gonna be using a full by five grid and the methodology is the same, whether you're using a smaller grid like this or logic grid, we're going to have to figure out how big square is going to be now food get four by five. I think we can probably go buy a four centimeter by four centimeter grids. So 16 centimeters from here to here. And then we've got 20 centimeters from here to here. So that will cover almost the entire sheet. I don't want to go any further than that 16 centimeters because it will be too close to the edge of the paper. What I'm trying to do is estimate where I'm going to place the person. And I think I'm gonna go around about helium, a bit of space where the top, I'm doing this very, very roughly now if you want to get this in exactly, you got to measure from the top the exact amount of centimeters. For example, if you want to go with something like five centimeters, five centimeters in from here. You can then go in and cut those lines up. Getting like a stratus sort of grid. Not gonna do that really for this one. What we'll do is just to kind of estimate here. Here, 48121216. That's now got me in sort of the four rows. We're gonna do the same down the bottom. But what we need to do first is get the 20 centimeters on the side in. So I have to go 48121620. The other side as well. Just hold it this way so I can see what's going on. Maybe this way I might be easier actually will be slightly off because I'm not getting it in. Holding that rule are exactly straight, but try to get it in as accurately as you can. 48121620. And of course down the bottom here, I'm going to get in a little bit of the rest of it, which is again 481216. We just need to connect up the lines now. Go very light as well. So then you don't have to do too much erasing later on because we're going to have to erase these lines. Obviously. Now. We're gonna go ahead and just get these ones going across as well. The squares are not super perfect, but we'll deal with that. Let me go. We've got a four by five grid now, for this one, what we're going to do is probably the simplest pot, which is the shape of the head. And I think the most important thing is just making sure. That it all fits in within these boxes. Now that the way to do this is to just look at one of the boxes on the grid. This one on the top left hand corner. We know that her hair comes in like this on the edge, so we estimate it about there. There's a bit of hair coming over like that. Over on this side there's a beautiful curve and it just goes all the way across and exits out of that box at the top there that have forehead starts roughly around here. I do like to use little cotton bud as well, but I'm drawing does help to smudge around some shadows if I needed to light up just to get some softer edges in. Because at the moment I'm just using a little pretty large pencil. You can see her hair just sort of come up. The strands of the hair kinda come up around like this. And it all just kinda curves across like this. Kind of like a darker section of the hair here. This part of a forehead, you can still see kind of lie to her. But there's a darker section of her hair that's just over this side. Like that. We also got to keep in mind exactly where the hair gets larger and it's around a bit in the midsection know much the mid, mid left side of this box where it starts getting a bit lighter, so just around here. And this is also the part where it cuts in. We have a look and it goes and forms the side of a face. I'm going to put in a very light indication of where that is. Something like that can change later, but I'll keep it like that for now. Of course, this edge of her hair here comes out. And really it's quite forms a side of a face here as well. But we've got these larger sort of strands that just come across like that. Get the top of the head here as well. And estimate where it cuts through that box. Read about here. So where where the lines of her hair, the hair could intersect with the box. We want to estimate roughly where that is. This is about, say, about a third of the way through. And it just curves all the way across like that. Of course we can correct this later if it's a bit off. Again here, this one kind of cuts through the edge of the box and then where does it cut through here? I'd say almost midway or a little bit more than midway. There we go. Just start drawing this line over on that side like that. Then I'll start, of course, getting in a bit of this edge of her hair here. The edges of her hair are important, but what's more important is where it touches the face. Because that's going to form the boundaries of your actual face shapes. So it's super important to make sure that we get a phase shaped correctly. But the hair, I think, is probably one of the most important part as well. We're gonna make sure it doesn't go out of the entire frame. Two, you can see all the her hair just sort of coming in as different strands and you can't get a bit bogged down with all this and I don't want to overwork it just so that I can actually get most of the details in with watercolors later. We know here it comes out around their bit of the side like this. There we go. That's done. That edge of the hair here. Probably redo bits and pieces of it. Now, we can see that her chin actually cuts through this box about halfway. Exactly halfway. It is perfect. This section here, normally, it doesn't line up so well, but I can put it right here and it just kind of like a rounded off at the edges. And then I'm gonna see where it kind of finishes off here. And I'd say it's roughly about maybe a quarter of the way through the box. So something around here. That's a jaw line. And it just curves are inside here, disappears into some of this darkness in the back. Undecided how accurate that is yet we will see how we go. And again, just gonna mark this edge of that box there. Let's go ahead and do the exactly the same thing. Just connect these two lines with a bit of a light curvature like that. In fact, it's probably slightly water out, isn't it? Slightly wider out. So sometimes you need to alter and change things up. Sort of a forehead here, kind of a cheekbone area. It doesn't really pop out all that much. So just something here and then we're going to connect her jaw. Just comes up around here. Then goes directly up like this. Cheekbone does stick out a bit but not too much. And then we can just see here obviously her hair just quite light, sort of just comes out from a foreheads. We now have the basics of a face and the jaw line, everything like that. So I'm going to go in and put in the left side of a hair that's ran about three-quarters of the way through the page, through these box or just slightly lift, center that and bring this down again, curves around around a bit. It comes down, you go down another strand of hair coming out than another one sort of going a bit to the left. So sometimes I like to get in a bit of detailing for the hair, but I tried to leave a lot of it actually for the painting. Another thing we'd need to put in your ear. So we've got a bit of an ear that comes out behind hair like this. Because the video ground like that kind of connects onto the side of a head. Then it just disappears behind all this hair and isn't bit of darkness inside as well that I can indicate with the pencil, something like that. Pretty much all around the jaw line and it's pretty dark. Hair cuts around like this, and then it gets quite dark underneath this section here like that. That comes across here. Then we'll go with her, nick, starting around about here. It comes out to the bottom of that grid, random out here. Always just referencing where the features are in relation to where they cut through grids. As a general guide, That's part of a neck That's right side of a nick, can't really see that. However, we do have to put in perhaps where her hair finishes off and I think I'll just do something like this for the time being. Keep it simple. Just curves in and forms the edge of the face. Neck here. What I'll do is start working a little bit on her facial features. Now, this I again, have a look into the grid and see, for example, where it starts. Now. We know the, it's almost like the the edge if I clipped bit of hair here. But we can estimate it to start around about there. Just the edges of the eye in the corner. It's quite sharp in the corners. If you look at it, it's quite sharp. So I'm kinda keep try to keep the keep in mind the shape of her eyes as well. There we go. We've got a bit of that eye that cuts around like that. Better with the corner of the eye here and underneath the eye just like that. And of course her eyelid on top. Here. Probably something I need to emphasize. More lighter eyelids are very close to the top of her eye actually, on this side. I can put it in a bit of the iris and the pupil just quickly like that, get in the other eye now. So again, let's mark out the corner. Having a look through corner of her eye. Almost. It's almost evenly spaced on this one here, like the edge of it. The edge of the corner like around here. And that side of it, I finishes about here with a bit of space to that left-hand side. Then we can go around and just get the contour of eyes. It goes up, goes down until like a sharp edge. Here into the corner of the eye. Just looks a little bit sharper than the bottom. Close that off a little bit down the bottom like this. Kind of like. We're getting there. It sort of looks resembling her a little bit when we're just gonna go get in the eyelid. Some of this will change them as I refine it and perhaps get a better gauge or estimation of where her features are. It's likely that I may change things around slightly. But I think that looks all right for the time being. Just getting an eye. Well, with this side, something like this. Middle of her eye, the pupil, of course, the ages of I, kind of dark blue color. B. Sonata eyebrows we get just simply like this. One on the left, starts roughly around here, actually near her. The iris curves around the corner like that. Little bit of a bit of detailing. And knows, we're just getting a bit more detail now this is where the cotton bud comes in handy because I can get in some small smudge around here to indicate the bridge of her nose, slightly in here. And here. There are some sharp edges on a nose and they come out like around here. And the way I look at the nose and look at our eyes, edge of a nurse kinda like intersects just a little inside out of the corner of our eyes or something like this. We know that this is a nostril here. Just get a bit of darkness here. A bit of darkness are in here quickly. In estimation. This sort of bit of a nostrils on the right-hand side. Not completely symmetrical. In fact, few people's faces entirely symmetrical. We've got a bit of a nose and now the shadows, it looked to be running to the left side of the face. Very, very subtle shadows to the left side of the face, but they are, they look to be more predominantly going towards that lift. Now we go and just a bit of darkness underneath and nose and loss truths that we can just get in a bit more, little bit more detail for her nostrils. Blend the movie in like that. Getting there. Let's put in her lips now. So again, estimating where her lips are gonna go. Around here, we know that they start almost if we draw a lines directly up and almost looks like the pupils almost hit her pupils line up with the pupils. So I can just put a little dot here, potentially a little dark here on this slide as well. This is where I can just get in that middle part of the parting of the lips. This general line of the parting of the lips. There we go. Basic. What I'd like to do here is just use the cotton bud to mark out the rest of the ellipse. Create more of a soft feeling on a lips. Lips do have more soft edges on them and people tried to drawing the edges of them all the time. But often you don't need to even do that. You just need a little bit of color in there. And that's it. Underneath the lip there is the little shadow here. Very, very slightly so I can just add in a bit of darkness like that. But for the features of her face, they basically almost all in. I'm just going to go get in beautiful shirt here that cuts across into this grid here. This one goes all the way down to the middle of that one. Like that shoulder here as well. Just sort of connecting up to the top of this side of her shoulders as well. And the shirt kind of coming there. Again, just the part of shirt where it touches the skin just around here. That's about it. I'll tidy everything up. I like to add in just a little bit more dark edges on some parts of a nose, perhaps tidy few things up. But as you can see, there's a decent amount of accuracy there already. We can even start painting. We don't need to do all that much else. And all we have to do is just erase these lines and we are ready to go. 5. Sketching Faces: First Set: So before I actually get into the individual portraits, what I want to show you is how to mix some different skin tones. It's very important to learn how to do this and to match different skin tones because we're going to have various different ethnicities, people of varying cultures, and being able to match them to the reference photo is going to be important to obviously get a sense of lightness to the subject. I'm gonna show you a few different photographs and I'll show you just, I guess my technique in mixing up some skin tones. So we'll start over on this side here. I'm just going to draw this phase, just a very, very basic face of this lady. And I know it's not even representational that much of the reference photo, but it's just a quick little sketch so that we can get started really get the eyes in somewhere around here, here. Just a really quick, quick little indication of the nose here is, well, what else do we have? We've got the lips here that their mood or the neck perhaps here as well. There we go, Just a bit of the hair as well, perhaps running down the sides. Just a really quick little sketch. What I'm going to do now is try to match the skin tone. And I'm going to use a smaller brush because I'm working in little bit smaller than moment. So what you wanna do first is make sure the area that you're mixing in his pretty clean because you don't want any other colors to be going into this area. And it's going to make things a bit harder to get that right color, that right hue. What I'm gonna do is have a look at the skin now. It definitely has a nice combination of yellow and red, sort of pinkish undertones near the top of your head here it looks a little bit more pinkish around the sides of the face there. So you've got a bit of the light that's hitting a face which is bringing out some of the yellow tones in a face. So I think it's probably, it's quite safe to say it's almost equal proportions, yellow equal proportions, red. Now I'm using two colors here. I'm using a bit of yellow ocher, and I'm also using a little bit of perylene Scarlet, and which takes on a quarter, nice pinkish hue when diluted down. I'm going to mix this up and try to match your skin tone. And one of the things you have to remember watercolors is that often the color dries a lot lighter than how you paint. It, also drives very, very flat. So when you put the color on, it tends to look almost too shiny, almost too dark, but you need to wait till it dries. So I'm gonna give this a try. And that looks roughly around the same tone in them. It turns out the color mixing versus the paint versus water, I'm using about 25 per cent paint, maybe 20 to twenty-five percent paint and 75 to 80% water. So it's the majority of it is just water. I'm going to go in with this mix because I think this is a fairly equal amount of red and yellow ocher will drop that into a face like that here. It does appear a little bit more pinkish actually, but it does have some yellow in there as well. I'm going to just add in this wash over the top of her face like this. Also go around the eyes, just cut around the eyes a little bit to, to leave some white in there. You can also pick up a little bit more yellow, for example, it and pop that in, in some areas of the face where you think perhaps it's a bit more of a warmer hue. This on the nose there, for example, above the lip. There. Let's have a look here. There's also a bit the left side, it's darker and more pinkish shot, say they're wrought sawed again, a little bit more of that, a little bit more yellow in there like that. And there we have it. We've got a little bit of an indication now ellipse, I'm just going to drop in some dark of red just on its own to melt in the facial region like that. It's going to just kind of film is soft edge on her skin, but that's okay. We want the lips to stick out a bit more. Now with the neck, again, we're gonna do the same thing. I'm just going to match that there's actually more warmth in there, but a war. So putting a teeny bit of red on this side, it's lighter on the right-hand side as well. You'll notice there's a lot of it's more like yellowy light color on that right-hand side. So I can just spread that down as such. On the left-hand side, it's darker. As you can see, just where her hair goes in, sort of covers up and creates a shadow. So I often pick up a little bit of bluish paint to a neutral tint color. And I can drop that in here as well, just to create a bit of shadow like effect on their side of the face. We can start getting into parts of a hair now so I can drop in a bit of darker color here forming on the side of her face, a little bit of little bit of color like that. And normally what I'll do, especially with parts of a face where I want a lot of, I guess more of a sharp or indication. I'm going to actually wait and put in wait for that to dry first, but I'm trying to get this done all in one go and look on her face as well. Let's look at some areas where we can put in some shadows around here. Okay. Just around this side of the nose, there's probably a little bit of a shadow there underneath her eye on top of her I mean, around there, around the top of her head like that. Underneath her lip, like that. Very, very simplified, of course. Mark putting a bit of color for her eyes now just grab a little green or something like that. Just a little bit beautiful, light green. I can just drop in the area. Get that sort of mixing around and they're not much detail at all. We can go into a hair now. But as you can see, a skin tones are already starting to dull down a bit more as we wait. While that happens, this is where I start to play around and adding the bits of her hair, just a little bit of a hair like that. They're in dropping in a bit more to the left-hand side, mixing a little bit of darkness in some parts. But get it to sort of join on nicely like this. Great. That is going well. I tend to wait for this to dry a little bit, especially around the eye area. What I'll do is use a smaller brush, a tiny little brush sheaths, and number four brush to work on our eyelashes and things like that. But you can see because I've added in a little bit more warmth from that right-hand side at this P Luby more yellow, yellowish there, but the skin tones are roughly matched. So it's just comparing, looking at that reference photo and certainly just comparing the skin tones and seeing, hey, this area looks a little bit more warm, a little bit more yellowy than that area. So we're going to add a bit more yellow in there. And also it depends on how vibrant that light is. Sometimes you can get photographs that have really yellowy, bright yellow light in there. You'd use something like a hansa yellow light, which is a more brighter yellow rather than a yellow ocher, which is what I'm using here. Okay, so that's the gist of it. I'm going to just show you now the finishing touches looking at matching the colors of our eyelashes and the rest of her face. Like I said, I just tend to pick up a bit of darker paint and try to drop that in in areas like that, shape her eyes a little bit here we can just put in a few little eyelashes to getting a bit more detail around there. And I'll just do this very quickly as well. Not too not too much detail. Just a few little indications of I the eyeliner here and then the lashes just going out on the slide like that little bit of a dot there for the pupil. You might have little bits of eyelashes down at the bottom here like that as well. The nostrils I can just put in a couple of industries like this very quickly. Eyebrows, of course, just a quick dash of color like that. You can do the eye, eyebrows all in one go or you can do them in creating a few strokes. There we go. Here we got her mouth inside of mouth is the lip blind. The center, which I'm going to add on like that. And of course we've got extra areas of darkness on the sides of the face in here, which is a little sharper. And we can add that in quickly to add just a little bit more darkness in there. Also like to go a bit into the hair and drop in some small little indications like this of just some little little quick little strokes of hair and little indications while the paint is still wet. That's one down here and we're going to go in and try another one Now case. So for this one, what I'm going to do is work a little bit on her face. Just draw a face in very quickly a case so we can just see the outline of sides of a face at chins roughly. He comes in like that. And we get a top of the hair sort of coming up like this, rounded off. A bit like that and a bit of hair coming around the edge here. And behind a drawer in a nick here suggests a bit of that neck like that as well here. We're going to just work on her eyes. Just put in a couple of eyes here, just the general location of them. And her nose, the nostrils coming out sort of around here, just a quick little indication of that. And then her mouth, which would just add in here as well. Oops. Bit here at the bottom. I want to just tidy that up a bit, but we should be okay. Quick sketch. What I'm going to do here is I'm going to just start off with smaller round brush again. And this is a stop saying that I was talking about before where the light on her face is really quite vibrant and very light, but it's not super yellow. I mean, it's kind of a doubt. It's still dulled down. But it's almost, it's almost tending towards white. I'm picking up a bit of buff titanium and mixing that in with a little bit of this hansa yellow buff titanium is kind of like a creamy white color. I'm using it probably about 30% paint and 70% water. You can go a bit thicker with this paint because it is white and very light in tone anyway, even if you pick it up straight from the palette, I'm going to go through and let's just getting this area and you can see very, very light on that right side of the face. Pretty much most, most of her face. In fact, there's just some smaller shadows and bits and pieces in here that we can get in. So I'm just putting in a bit of this hair going over the bit of the area where hairs as well. Because underneath what you're going to find underneath the hair, you're going to still see parts of her head. So we need to color that building as well. Here I'm just dropping in some more paint. I'm trying to go a bit dry here as well so that I can work faster. This error hopefully dries a bit faster so I can get in some sharp looking shadows. And neck is also the same color. This one's a little bit easier, I'd say than the first one. It's almost just the same color all the way through like that. Then what we can do is essentially adding a little bit more color for her lips. So I can pick up a beauty of these red color. Drop that in for ellipse here. They can actually see some of the teeth in there as well, which I'm not going to really emphasize here for the moment. All we're gonna do is focus more on the skin tones. But for her lips, what you have to remember is that the lips will always, in most cases be slightly darker than the rest of her face. As you can see, it's certainly more of a reddish, a vibrant red color in there. Underneath the eyes. I'm going to just drop in a touch of color already. And just underneath here, just a little, little, little align there to add a bit of color under eye. What we can do as well is stopped putting in some of the shadows on a face. For that again, I just use a little bit of neutral tint, mixed that up and this area will hopefully be almost dry so that we can get some sharp a kind of shadows on her face. I'm going to go and shake that side of the cheek that comes down like that. That comes down to a jaw here. We've got a sharp as sort of shadow, again on her jaw, which we can pick up a dark paint and and get that in. Not too dark. Almost matching the shadow on the left side of the face. Like that. Got a little bit of a smile line here which I can drop in some paint there. That underneath the nose there's a bit of a shadow which is cost all the way across like that. And it funny enough actually shapes and knows better when you put that in. And we can just add in some of these eyebrows here as well, just really quickly. And I get them all in one swoop and little bit of color for our eyes in there like that. And I can also look at the side and think, Hey, that probably would be better if I softened it off slightly. In that edge, he is often that bit off in here. Let's have a look underneath the chin. There is a bit of darkness, tiny bit of darkness here that I can just indicate as well. Just a quick little line. While this is all coming together and drawing, this is when I'll stop picking up a beautiful darkness and putting it in for her hair. So I like to use flat brushes and this part of a hair, it's almost completely. A completely black. And that's going to make it very easy and it's going to form a strong contrast with her face. Let's go ahead and I'm going to pick up a little round flat brush, actually a small flat brush, and it just depends on the size of the paper you're using. But because I'm working quite small and moment is small, flat brush would be perfect for this. I'm just gonna go and just indicates some of these little bits of her hair here coming down, running down the side, the kind of almost two bluish, I'm going to mix in a bit of brown in here, it to warm it up a bit like that. Coming down. We've got a bit here is it's very, very dark and you find that it does form a sharp edge on a face. There's a bit of her hair. And if you actually draw off the brush and little beetle or kind of use this technique that I'm doing now we're just scratching over the paper very quickly. You'll find that the bits of heirarchy look a bit more convincing. Be adventurous, and don't worry too much about getting every single bit of hair in, in, as per the reference picture you tend to, tends to look better if it's got a bit of character to it. So there we go. We got in pretty much most of the details of the face. Now, I'm just going to start finishing off everything by putting in a bit of really dark neutral tint on some parts of the facial features. Now we've got her eyes which just need are shaped in a little bit more like that and just getting a bit of a bit of eyelashes maybe coming off in the corner and some of them coming downwards. Actually. This would have come downwards. And underneath, I'll just drop in a bit of color inside our actual I like that as well. They're actually pretty dark inside her eyes. Bit of darkness underneath it. I like that. A little bit more of the eye lashes like that. And we can also start putting in some color for the edges of her face. Sorry, her mouth. There's the edge there. There's the edge there for the left side of the mouth. Again, I haven't really tried to get in their teeth or anything like that. So it's going to not look exactly like a the reference. But there we go to a couple nostrils, nostrils there like that. You can sort of shape and knows a teeny little bit there. And of course it doesn't look as refined as the actual reference are the same, but it's going to look at, it's going to resemble that. It's going to help you to understand how to get in those tones later, those and mix them up and get the correct color and Hughes as well. That roughly covers that one. We're going to go in and work on another one. Now, we're going to start on this next one. Firstly, I'll just get in indication of her face and the facial structures. Again. Top of her head, I'm going to place roughly here, bottom of a head roughly here. Then we're just going to get in that shape of a jewel like this. Going around this side of the cheek bone popping out like that. Then a hair which is just going to do in one big shape like this. You've got a bit of an EA here, maybe like that. Then some of the clouds we may put in her neck here. I think that would be good. Just a bit of a neck and then a bit of a close like that. I'm not too much not too much in the bit of room for afterwards. Putting up eyes here. So just a couple quick eyes like that. Their nose like this. There's a couple of the nostrils like that. And I'm going to just work on a mouth now here. So the bottom of it probably ran here. Just getting a bit of this top lip like that. Bottom there. Fantastic. Other ear like roughly there. Eyebrows. Indication of eyebrows like that. We're gonna go ahead and get started. Now, she's got more of a brown color of his skin. And I'm gonna be using some of these color here, which is basically burnt sienna. Mix it with little bit of yellow and a tiny bit of this pink that I have leftover as well because it's not completely Brown that there are some pinks in there as well. I'm going to use a bit of that color. So it's kind of a yellow, a bit of yellow ocher. A little bit of the burnt sienna and a little bit of red, I would say mostly it's burnt sienna with small portions of red and yellow. Yellow ocher. I'm going to drop in a bit of color to a head here. You go around like that. I'm also assessing it and seeing if it's looking all right or not. And I kind of think that might be a little bit too red, so a drop in a bit more yellow and a bit more of that brown in there as well. Perhaps a little larger than I've added it into. Something like this. Good, good, good cut around the eyes like that. I'm there, I'm just going to merge this downwards here. Over in here. Ear in like that. The other earring here as well. Just go around and get to drawing at the bottom as well. Like this. Some of her lips now lips are actually have a bit more red in there for pickup, some red and just drop that in there. I don't want it too obvious, but just a little bit of red to indicate ellipse that section. I mean, not even completely read. They just kind of a pinkish color. Okay. Fantastic. Bit overboard there. So now what I'm gonna do is just put in a little bit of California hair now I've just got some brown, just a bit of this burnt sienna mixed with mixed with raw umber. And I'm going to drop that in here, get to here in all in one go like this and we'll get into a bit more darkness around some areas as well. It's not just completely the same color like that. And the top is a little bit more, a little bit more lighter. You'll find just on the top sections there. I'm just going to get that in very quickly like that. Cut around an ear. Down the bottom. It's a little darker as well here. Like that. She's even got some coming down a face like this as well, which we can just indicate quickly like that. The colors of her hair range from brown to pretty much almost dark brown to black. So we need to get the range of times in there, the full range of tones and colors. Now, a bit of his shirt that's got a kind of orangey color. One on. I'll just put it beyond here. It's just something quickly like that bit of teal on the sides there. Now for a face, we can just put in some little bit of shadowy color, some picking up a bit of that brown mixing, mixing in with the red. And just looking to see where we can find some slight shadows underneath the chin. Maybe there'd be a bit there. Underneath here as well. Her chin here where there's a bit of a line, is softer sort of edge as well where it meets her neck. This will just soften that edge a bit like that, but it cuts around the face of it to expose a bit of the jawline, bit of softness here in her cheek to just a new dash of paint, their little dash of paint here as well to bring that checkout. Then underneath the chin, just a little bit of color in there. You can just getting a little shadow color around the tops of the eyes in there to this. A little bit around her nose here. Good. It's often that, often that edge as well. Let's look into what ear maybe get a bit of coloring for in some parts of the year. Just touch there to just bring out some of the features of the ears inside and make that just a touch of paint here and there. Eyebrows are all drop. Some dark at painting for eyebrows, they sort of meet up almost with the hair. And what they might have gone a bit too low with their hair, but that's okay. Just a quick indication like that. You can put in a bit of color for just a bit of quick dab of color in there. Here. We'll mix in, but don't worry about it, just let it do its thing. This is dried a little bit down. That's really good because I'm gonna be able to now pick up a little bit of color. Just a tiny bit of brown here on the side here, just a bit of the neutral tint leftover and essentially started to shape some of her features. And again, I'm going to just be dropping in the darker parts here, just a little bit there for her nostrils. In fact, around the edges of a nostrils, you'll find just a little bit of darkness in some spots that helped to create a bit of the detail around her nose. So I thought I'd drop in a little bit like that. Then of course her eyes, I'm just going to pick up really dark neutral tint here and shape our eyes a bit better. And of course, getting a few of these eyelashes coming out of the side like that there down the bottom as well. So just looking quickly at the reference photo and trying to get a rough little indication of eyes, their eyebrows, I thought I'd read state them, touch their nose and better. And of course, the edges of her mouth. She does have some teeth in there, but I'm not going to really bother too much with that. Another thing I might restate is just that little bit of color under her chin to draw out that jaw line a bit better, teeny bit better. Fantastic. Now even find some areas of the clouds. For example, you see a bit of darkness in some spots here and there. So that's always a good thing to put in and I prefer actually do some of that stuff while the paint is still wet. You know, in her hair. You can also go in and start getting in a few more bits and pieces around the edges like this. Just to create a bit of variation in the brushstrokes like that. Oops, gonna be too far into her face. Like that. There we go. Fantastic. So that's that one done. So we're going to go in and work a little bit more on this one now. 6. Sketching Faces: Second Set: Ok, and I'm going to start drawing in some of the details of her face. So we'll go roughly around here that we would top of a head, this would be the bottom. The bottom. That face kind of just comes in on almost like a V shaped so to angle chins like that. There you can see a bit of a drawer sticking out the left-hand side. Let me factor here actually goes up quite far. It's, it's, it's further up into that figure, but we'll have to overlap. I'm afraid, to overlap slightly. Eyes in roughly here. Just draw these round oval shapes. Their nose roughly, I'd say brown, here's the endpoint of it. Its nostrils like good. And her lips Peru bottom here, bottom part of the lip there. And the partition here. That good. Get an ease in the eyebrows. That's a good thing to also put in there some eyebrows. We can just put her ears in just a bit of a nick. Fantastic. We can go ahead and get started now. And this one, now, looking at her skin, we essentially have more of an olivine colored skin complexion. It has a yellow bias to it. So I'm gonna pick up a bit of yellow ocher. I'm gonna start with this first, the tiny bit of yellow ocher maybe mixed in with the touch of pink. I'm going to drop that in like this. Move around her face. And again, the same mix of paint is mostly water, so at least at least 75% water in here. And just going around and keeping it fairly light as well. Because remember this area, a face is almost completely lit. It doesn't look dark but it will dry off and lighter. Just dropping that in that bit of detail, bit of color for a little red in there like that. That will nicely sort of stoic in and spread around on the paper. Hopefully. Don't want to make that too obvious once it kind of looks all right. I just leave it come in there at the base of her chin. It's actually more yellowy. So you always just referring back to that reference photo. Just seeing if it makes sense or not. Because sometimes sometimes you get distracted when you're painting, but you have to always remember to match the colors and the tones in here. Little bit of darkness underneath the eyes and on the top of the eyes as well, just under here, under the brow ridge, sometimes under the hair. There's also a little bit of darkness like I'm trying to imply, like this. There's actually not this much color on that side of the cheek. I'm gonna try to lift off a bit of that color. Spread too much, but there's this line there that indicates her cheekbone, which I will keep. A lot of this stuff sort of just blends in as the paint dries. You'll find that's the case. This sort of work, Witton wet work. I'm going to go in now underneath the chin. And again, it's just kind of a yellowy color. Yellowy pink color effect. It gets slightly lighter. As we move down. I'm just going to quickly put in a bit of color like this. Shirt and jacket. It's like a bluish color. So I thought I'd pick up a little bit of this blue and use that on the edges while we are waiting for everything else to dry. I have not added into ears as well. I've put them in quickly and like these this one on the right-hand side, you can't even see. So I'm not really going to worry about that. You can see a skin is a little bit more of a yellowish, yellowish sort of bias to it. Fantastic. Adding one or I didn't a little bit of colorful eyes as well, just to touch a touch of paint in here. Mixing in. Then that also would be good as if I add in some of the eyebrows. But I think what I'll do, I'll wait for that later. I'm going to just go in with a flat brush and we're going to pick up really dark paint. And I kinda like what I was using before for this person's hair. I'm going to mix in a bit of brown with neutral tint. This is going to give me a really dark color, dark California here. I'm going to go around and let's just color this in here, of course, because this area has not completely dried yet. You begin to have the soft edges on there as well. On my I have to go into a little bit light up and getting trying to get in a shop at aging that point. But we know her hair cuts over here, cuts over the ear. It comes around the side of a chin like this. Beat coming down like this, like that. A bit more. And he and try not to touch that figure above too much. Coming cutting across her face and our body like that. They're good, good, good. Now that part of our eyes should hopefully be a little more, little more dry now. So I'm going to go in my round brush. Number four, round brush inside, manage to locate where it is. I may actually just use this smaller one only because I can't see. Finally the other one's gone. It happens when you've got so many brushes and I try to minimize the brushes down. Try to minimize my brushes down as much as I can, but I still managed to get some of them. Lost. India. A little bit of neutral tint that I've picked up. Neutral tint. Get it pretty dark. And I'm just going to go around it. Iss let's just indicate parts of her eyes like this. Fairly dark actually. And we've got eyelashes just coming off like this. Same with this top section. I've accidentally made that too heavy, but it doesn't matter. I like this. They weren't going to go in and just put in the eyelashes, the edges of the eyes as well like these. She does have a logic kind of eyelid and two on top there. Regarding a few eyelashes just coming off the bottom to this bit of detailing for nostrils at the base that get into a bit of this small lines there on the side of the face to like that drawer at some of the detail of her nose. By coloring around the edges as I'm doing here, just the softer indication like that. They're just also put into nostrils better like this. That shadow underneath her nose should be too sharp. Just soften that a bit like that. And it'll just start putting in a bit of her mouth too. So they kind of like this here. A bit of darkness and beneath her chin. Can also, while this area is started the drawing, we can put in a few little sharper brushstrokes are running through like that to get out of her hair around her chin as well. We can put it in a bit of color underneath like this. Just to cut around, I draw a line, bid more and more around her eyes and testing. So that one is finished. We're going to work on this one now. Face is slightly turned towards the left. Just trying to draw in the shape of a face. Draw there of comes around and I had just goes through all of it, but I can try to get into the eyes and nose and a mouth as well. Just a quick indication here. Eyes there, That's one eye and this is another one. In here, we've got eyebrows like this. Nose like this, just put in the nostrils. And the approximate location of the nostril is actually further down. I think we further down roughly here. Putting industrial here in industrial around there. The bridge of her nose like this. And Destic bit of the side of the cheek and this side of their cheek as well. Here in here I'm going to just put in a bit of the lip and she's got a teeth showing through. I'm not going to really throw them into too much. That's the bottom of a leap here. Sort of covers it. Basic drawing. Chins like the rest of it is just she's just got here which will just indicate coming down. Sides of the face and neck is running through here as well. You can not see it too well. But you get the idea a little bit of that. Now her skin is actually more pink and she's got more of the pink bias to a skin. So that means we're gonna have to mix up, of course, a little bit more red in our paints. Over on this side on looking at already have a little bit of red leftover, but I'll just add some more in there. And also adding a teeny bit of this yellow, little bit of Hansa, yellow, maybe a little bit of yellow ochre. It doesn't matter all too much as long as we have more of a red bias in here. Just diluting this down a bit. You can also mix red with a bit of buff titanium that will work well too. But you'll find that even on her face, there are still areas which are slightly warmer like on a chin, cheek here, perhaps, a bit of a forehead, their bit of a nose perhaps like that. So I'd just like to put in a bit of that before I start off and then I'll just cut around and use this reddish color for everything else. We go just around a nose like that. Then let's put in a little bit underneath this I as well like that. Excellent. What I'll do is start to add in some of the darker colors. So one of the things, one of the areas I want to work on work on first, just a bit of her lip, just adding a little bit of red paint in their tiny bit there just to give her lips some color. I'll get the bottom wanting to just a little touch of color in there and I'll leave, as you can see, I'll just leave the white bits in there to indicate as if it's basically a teeth. She's actually got more of a brighter lipstick on. So if you want to add in some brighter color in there, you can also do that. I've just chosen to stick with a little bit of a darker color in that mix. And I'll go ahead and mix a bit of neutral tint into this reddish color like this. Look at some of the shadows. So we know that underneath here there's a little bit of shadow. So I thought I'll drop in a bit of darkness name and the dry off your brush a little bit too because sometimes you can get what I just did. Putting too much little bit, too much shadow in there. So a little bit in there, a little bit in there. Let's have a look just a bit here. Indicator cheap, quick little mark like that soft edge because the paper's wet makes it a lot easier. You don't have to soften that edge really. Maybe this edge of a head here and a little bit of darkness on the corner and underneath the eyebrow. Like that. Looking good. Soften that edge on her chin slightly. It looks a bit too sharp and they're good. I'm gonna let that kind of draw from while that's happening. I think what I'll do is also work a bit on her hair. So I have a flat brush, same flat brush that I've been using before. And I'm going to go in and try to get in some areas of basically pick up some orangey color. I'm going to mix some of this red into it as well. Maybe a bit of blue later as well, just dial it down. But you've also means mainly pretty, pretty orangey. So you can start out by using a very vibrant orange color, just watered down a lot. Do this sort of thing. Just getting a quick indication of that hair like that. As you can see, almost using it straight from the palette. And parts of it, of course go ever face and what have you used? Well. Good. Just want to bring that all the way across down the bottom. Here. They're a bit more in there as well. Remember, we're just getting interface and we're really going to put in any other details. One thing I've forgotten his neck. So if I pick up a bit more, maybe this pink color and then just drop it in for Nick. We'll hopefully I'm do the trick because it is actually dark than the rest of the body. There is more darkness in this edge here as well, just in their dark bits into the hair, there's even darker bits here, so we can just indicate a bit there that goes up like that in here. Just drop that in, wet into wet like that. This bit here we should have comes down. What else do we have a few bits and pieces here in her hair to the left. Just adding some variation of color. Mix. Here, Movie here as it moves down. Try to use this as well to shape a face a bit. So if I can just get a sharp edge in here, that would be nice. Like that. Good. Now with a bit of color in her eyes and a bit of detail in her thighs. What would do is again, just use a smaller round brush. And this is going to help us to detail little bit of color in here. Eyes are almost close because she's laughing. Just a little bit of color like that. And Lou eyebrow like that. Just a quick indication. Just do it in one go. Like this. Kind of looks like our eyes are still open. So again, it just depends on how you want to portray this. Put in a couple of noss true sections there like that. Draw our lipid bit better like this. A bit more of this part of her cheek. I'm coming through like that. Underneath the eye here. I'll add in some eyelashes to just indications of some eyelashes. The edges of her at the bottom, few here at the bottom like that. Add some color and four up I seeing as they appear more open, It's getting a little bit of a bluish color. Just move that down a bit with some other colors. They didn't like that. Okay, something real quick, easy. We have it a really quick, really quick sketch. You can definitely see that there is certainly a little bit more pinkish undertones to a skin compared to say, this person here, that person, that person here, this one has a little bit more of a brownish, warm undertone. The differences are very subtle. But certainly when you're painting it does. It does make sense. Lot more. Being able to match it to that reference photo, it's really, really important to get that likeness. So we will work on one more pancake. I'm just going to draw in her face again pretty quickly. That's the area of a hair at the top. So wearing this bluish garment on her head, the sides of her face, and the bottom of the face like this, little bit of her neck like that. But apart from that, there's not really much else to add in here. Eyeline roughly here, knows here. Maybe here. Let's just putting a bit of a quick indication. Nose and a mouth roughly here. Separation of the mouth in here. Good. And we can of course, go ahead and get started painting. Now she has certainly more of a brown undertone as well. So I'm going to be using some burnt sienna and a little bit of yellow mixed together. We're going to go straight into it like that. It's mostly burnt sienna but just a touch of yellow in there. And you will find also that the skin, some areas here, it's just lots because we were getting more light reflected onto the skin from other light sources. You can edit all in one go like there's just a really quick wash. And after you can basically just drop in the shadows and the dark and bits. I find this to be easier to do a lot of the time. Let's put in some bit of red area for her lips. Not too much, way too much there. And at the base here we go. Just carry this wash, cross the underneath the chin as well. Like this. A little bit more brown, 20 bit more of this brand, which is basically a burnt sienna like that. And the shadows on her face are very subtle. So I'm going to pick up some of this darker paint and put it in a bit here, underneath the eye here. This will all kind of soften off. I'm in time and just trying to drop in a bit of that color. So fairly light. Little touches like that to just try to indicate parts of the shadow is on a face and you can even see shadow running towards that right side of her face here and then just comes in and meets on with the chin down the bottom like this. Like that. The right side of your head even has a bit of a shadow like that. Very, very quick and effective. You can get this done essentially. Normally I write for this to dry a little bit, little bit longer. So to give that a bit of time, I'm actually going to go into the top part of her hair. Let's pick up a bit of a muted color and just put in a bit of cool color up the top there for what she's wearing. This will give me some time so that the area of the hair will dry, the head will dry a little bit before I get started in that area. But you'd be amazed how much you can actually paint wet into wet. There we go. You get a bit of mixing. That's okay. Little bit of mixing that's okay. Especially with this area is starting to dry. It actually looks pretty good when it mixes together. I've got some neutral tint, really dark neutral tint. We drop this in for a hair, I'll add in a bit of brown also to the neutral tint. It's quite dark. Just like these. Get it to blend in with what she's wearing. And ran he in your head, I'm just coming to just feather in some bits and pieces into a forehead. And a lot of it's just really dark. You're not going to be able to get all too much contrast on this section because the paint is still wet. But certainly it's a good, good little strategy to employ to get a bit of this mixing in here keeps things looking interesting, but normally I do wait a teeny little bit longer to add in this darker paint to get some more accuracy in here, but we're more looking at the skin tones at the moment, so I'm not so concerned with that. There we go. We have a little bit of color in there. I'm going to work on getting in some color for our eyes as well. Just a bit of brown and black. Neutral tint mixed together is add in a bit here like that. And it'd be here as well. Let's add in a teeny bit underneath her nose as well as the thicker you make the paint, the less it will spread. So that's a bit there. Oops. There. Quick little indications like that. On a mouth as well. We can mark out the edges of the lips and the insides of a leap as well like that. Part of her eyes are almost dried, so I'm just gonna go ahead and get into a bit of color here to outline our eyes. Beta. That in fact the I eyebrows are a bit more pronounced, kind of going up in an arch and then coming down like that. Good. Of course, some eyelashes. She does have also a launch sort of fold on top of the eye for an eye lids. I'm going to just indicate that now like this and probably put the eyebrow little bit too low now, but that's okay. We'll just now put in the eyelashes really dark. Paint. Just runs up looking to be able to get in much detail at the moment because the paint, the paper is still slightly wet, but a little indication like that. It would be nice a little bit at the bottom there. And testing, we can just put a few little stray hairs coming out in the side day. Notice that because the paint has already dried off some of these parts, it appears a little bit a little bit more sharper. Say, good combination. It really just depends on what effect you're looking for. I think I'll add in a little blue as well august a cooler area for clothing or something down here that blend it in with her skin tones. A little bit of darkness. I perhaps like that for the pupil. Just a quick little indication. Okay. We're done. We've covered a whole bunch of skin tones here. You can see we've mixed up for more yellowish skin tones, going towards a bit more Olivine to brown here. Then we've got someone with little bit more of a reddish, pinkish skin tone that covers quite a large range of skin tones. And you'll find that the combination of red and yellow, brown and a little bit of blue mixes pretty much any skin tone. You just have to experiment and do these little sketches as I'm doing here. Pick up a photograph. Perhaps. You know that you find online a few little reference photos and practice this same technique as I'm doing here. And you get better and better at predicting how look once it's dried and being more confident, mixing skin tones. 7. Complexion One: Gridding: I really liked this reference photo. It was just quite beautiful in terms of the composition. I loved the softness in the background and Howard just kind of melt until her hair as well. So it's some very interesting hair. These interesting sort of Coase. And I thought this would be a great photo. To do so. I'm gonna give this a go. Firstly, what we'll do is just getting the edges of her hair. Now I know this bit of a hair kinda goes all the way across like this and I'm not going to try to actually getting any of the curves or anything like that yet I'm just putting in little quick boundaries for her hair. And then later on I'm going to add some more details off for the moment, for the time being, it's just going to look a bit all over the place. More sort of just marking out boundaries of the hair. I'll get in some of the killers hopefully with a flat brush in some technique. I'll show you a bit later. Coming around here you'll notice actually some part of a hair just sort of goes across underneath this grid a bit here. And we know that her jaw line is around here. It's quite interesting because in fact, there's an area of a hair just through the middle of this grid here that's a bit darker. It's kind of tied, tied up slightly. But you can see there's a little bit of darkness just behind here. So I'm going to use that as an indication there to get in some bits of her hair like that, It's quite dark. And then I will I will just put in her ear roughly which is somewhere here. Just a quick indication of where it might be to start off with. I'm not going to put the whole location of it in just yet. But I know her neck comes out roundabout there and then her jaw line comes out here. Actually in cuts through this this box here, this grid. So somewhere around here. And the chin is roughly here. Just estimating where to put it about here. Joins up with her chin and the jaw. The edge of her jaw here as well. I think that's so I'm just going to get the edge of her face in her cheekbone does stick out a little bit. This edge. There we go. That's the side of her face. Like that. The Buddha that cheap burn. And move ahead, just sort of coming down. It's hard to get it in. I think I might have to just use this cotton bud perhaps to indicate boundaries like this. Right ear or same height as this one. Starting here and ending here. We go. Just a bit of a snippet of an EA just going behind her head. Put it in a bit more of that year. I think it's actually in the roughly the right position. I'm not going to change it around or too much. I'm happy with how that appears. Like I said, this area of her hair is quite dark, just behind the ear. Even underneath the ear. Very dark. Like this. And this part of a neck sort of cuts through about halfway through the box like that. They're wearing some type of I don't know what it is. Some type of jacket. You see part of a hair still still behind, which I'll just color in slightly like that. Is around the edge, edges of the head. Neck. The other side of the neck starts roughly on this edge of her chin, comes down. This sort of forms part of the clothing here as well. Just a bit of that coming out like that. Part of part of a jacket coming out here. Turquoise see colored jacket. A bit of a color here as well. This one runs about how it was somewhere around here. In the bottom of the neck here as well. Another bit of her clothing, this section here, this bit kind of cuts all the way through the center of this grid. That's right there. Comes across the other side like that. Just getting a bit of her shoulder. Coming out here on this side, rounded off like this. Like that somewhere. Let's have a look at the left-hand side, comes down more sort of around here. I can just work on this color a bit more as well, coming in like this. And the actual part of the jacket which stops around here. Jacket and coming out like this. There we go. We've got her clothes now, taunted work on her facial details of facial structures slightly so we can get a better indication of I'm going to zoom in a little bit and focus a bit on her features. I'm just going to outline that a bit better. Really in the center of this whole box, isn't it? What I'm doing here is adding a bit of darkness in some areas to draw out the contours a bit better. Some of her eyebrows as well, and eyes and eyebrows. I think. One of the most important parts here. Now, comparison to E is this just kind of on this ridge of her ear right there. If you draw a line across the edge of AI touches that box about the ear. And then the other side of the eye maybe comes out like here. I'm just putting an indications for her left eye. And then we'll try and get in her right eye. And a bit of space in-between comes out like this with a bit of space on the right side of her face. She's got this almond-shaped eyes top. And the bottom part like this, top, bottom, can be shaped and detailed more later as well. In fact, I always have to have to do that. Shauna, to detail too much in watercolors in pencil. I mean, I have a bit of most of the detail done in watercolor. Eye lid. Quite large line. They're running across. Beautifuler eyebrows as well. It goes sort of eyebrows, sort of curve around and then come down a bit like this. You'll notice the eyebrows start rod and the center of the corner of my eyes. Like this. This will need more detailing lighter eyes in size of our eyes. Just putting the pupils and the iris. The iris here. This kind of looking straight at the camera, um, can start adding in a little bit of extra darkness around the edges of her eyes. Like the top bit I think is probably a little bit easier to do because it's just kind of rounded edge comes in a little bit. Eyes can be very tricky to do. Especially in the edges of the eye here, this little curve, minute sort of curve and then it goes out like that. Very hard to spot. Sometimes it takes a few goes to get it right here. I am just putting in a bit of color for our eyes now and a much less dark. And then both. That will get in some more details later. I'm going, I'm happy with how they're looking at the moment. Nostrils for this side, the edge of this nostril kind of hits the edge of the lines up with the corner of I there. That's where I'm going to place nose on this side. Not true here. True here. The other nostril actually comes in and a little bit more softness here for just indicator nose underneath as well. And the edges. Just a little bit of darkness underneath that eyebrow like that there. Getting there. Light sources very diffused as well. I mean, it just looks like there's some light coming from above, really. Lips and teeth as well as interesting one, do a teeth. Lips corner of ellipse starts at roughly here, in the corner here. Opening of the mouth. I'm just going to place a nose little bit further up like here. I'll start with the nostrils. Lip here, top part of the lip and the bottom part of the lip as well. Which is thicker than the top part of the lip. Like this tends of a teeth. We just need to get in a little indication of them is showing through this. I don't want to overdo it down so easy to overdo it and they just looked too obvious. Like that. An edge in here gonna come up. Often with this cotton bud. The edges. There is a bit of darkness underneath the bottom lip as well like here. Little bit of darkness there. Welcome to nose. A little bit more tricky. Lot of soft edges on another. I think I'll probably just leave it as it is. And as I go into the watercolors later, I hopefully you can draw out a bit more details. On her nose. I'm just trying to get these nostrils in a bit more accurately. Bit of shadow underneath the nose as well, sort of softness on the left side of the nose as well like that. A bit more softness in ellipse. There are around a bit some shadow underneath the chin roundabout here. Cheekbone like that. But apart from that, I think we're actually ready to get started. This last bit. I'm trying to just smudging her nose. Loops mean to do that, but just getting a bit of the corner of the right side of her nose not made it dark enough before. But it should be something like this. Curvature, like this. Then that right nostril fact it's more, slightly more curved, good. Going in like this. It anymore curved. Soften this edge there. Underneath the eyebrow. Just a bit of darkness there. In fact, it's kind of dark under here as well. I think we're ready to get started with the painting. 8. Complexion One: Light: I'm going to work a little bit on trying to make her skin tone. Skin tones got certainly a little warm colors in it. Some darker kind of warm colors. I'm going to pick up a bit of this burnt sienna over here. Good amount of this burnt sienna that I think I'll be using. But also the skin tone does have some little bit of yellow in it as well. Burnt sienna, yellowish color. So I'm just trying to mix this up a little bit here because some leftover color from the previous wash, but that's not going to be a problem. It's mostly just this color that I'm mixing up here. I'm just making sure that I've got enough water in here so I can cover both her head and her neck, face in a 10k bit of this yellow ocher. I think there's even a teeny bit of red in his room. Basic bit of red, tiny little bit. Just mix it up. I'm going to go straight in here. Let's try that. Let's try again remembering that these will dry, lighter as well. I'm trying that around. I'm gonna cut around the eye a little bit. I'm just having a look at the colors. I think we're probably going to need a little bit more warmth, little bit more warmth in there, a little bit of tiny bit of orange. Orange in here. Okay, like this. Just to listen a bit more warmth, orange or yellow that you might have. I think that would be a good choice. Just pop that in there and I'm going to go all the way around her. I like that. Kind of around the face. They're just on around her nose, like this. Okay. Cutting around her eyes. I'm going to leave a bit of that white in this so that we can go in with just leave the Watson eyes and they're not really white, but basically just going to be putting in some little bit of gray, a little bit of reddish color in there. But I'm going around, look at these. I'm just putting in a bit of coloring. Top of the head is here. Now this is going to be interesting part because we're gonna do the hair at the same time while this is all wash still wet. I'm gonna show you a little technique that I've done before when painting curly hair. And this bit here of ellipse, I'm just going to go down into a leaps into her neck here like that. Let's get this out of the way. If you didn't hear like that, I'm going to color an ellipse, the general color, and I'm going to go wherever I'm gonna put a bit more pink, a little bit of red in there. Just go around like this. As you can see, I've left the lips slightly lighter. Just to account for a bit of the color that I'll add in light up and down. Bring the ears skin tone down all the way up into here. Okay. We're her clothing starts, right. We have a wash, really clean wash at the moment. What I'm gonna do is pick up a little bit of ridged, a tiny, tiny, tiny bit of red. I'm going to mix that with a bit of buff titanium. Because really her lips and not super red, they just have a hint of a hint of red in there. So I'm just going to drop video this color in a little bit of softness on the edges because the sides of the paper is still not completely dry, just where the lips are. So I'm just gonna put it in a bit like that. Mechanic shaped them around a little bit. Once I'm happy with how that looks, we're going to go ahead and put in some little bits of darkness into this whole mix. And I've got up the top here, bit of neutral tint. Guano put in some color up the top here, underneath her, her eyebrow there. Little bit here. The light source remember is coming so Supreme a straight from above. My adding in a bit of darkness underneath the eyebrow here. Just around her, leaving a bit of lots of color above the eye socket. Make it look like she's got a bit of dimensionality for that I am going around, let's put a bit of color underneath this. I just a little bit there and a little bit here underneath these eyes as well. Drop that in. Finding some areas that I can add some extra darkness and bits here. So there's a bit of a cheekbone like that. Drop that in, that soften this edge a bit. And when you softening edges in using hot press watercolor paper, it can be quite tricky at times because you can often mix. Basically just lift up that previous layer that you may not want to disturb. I'm just putting in a bit of this sharper edge here underneath her lip. Soften a little bit like that. Oops, that's probably too much here. So just lift off a little again. Going to be quite mindful of what you're doing here. Little bit more color underneath here, just on her chin here at the bottom you can see there's a bit of darkness on the chin as well, but its softness as well. So soften that edge. I didn't either nick, we've of course got a little bit of darkness. I'm going to mix up a bit of burnt sienna with a bit of this neutral tint. And let's just go ahead and color these building here. Get a little bit of an edge like that. Soft edge like that carries further down, but I'm going to soften that edge. As we get down the page. We do have a slightly sharp edge, but it starts softening around here. That's about all I think I'll do for that pit of the neck. Now, here comes the part, the fun little part here where we're going to do some of her hair. Basically what I'm gonna do is I'm going to start off with a light brown and we're going to work our way up. I'm having a bit of burnt sienna here, also a bit of this raw umber. What do you do? You just grab this little flat brush. You make these kind of movements, left, right, left, right thing. I think that this is just a little shortcut way that I know of doing curly hair. After you sort of repeat this in you and you mix it and you layer over the top, it gets the job done. The first layer always looks a little bit, little bit weak to start off with. But this is what I'm going to do just a little bit of this sort of style like this. Also, if you have yourself a fan brush, you can use that as well. Little bit of fan brush like that. Then we can get some kind of funny little jagged edges like that. But with a few more layers it, we're actually looking pretty soft. So let's go ahead and just add in this first layer. You can see again, starting with the lighter bits, go all around to the left. Remember with the outline of her hair that we did before. That's why it's so important to put the edge of her hearing because that's going to form you a little a little guide as to where to go. Now, we're to stop, especially is very important. This comes down, you can see part of her hair sort of come across at forehead is a bit that sort of comes down like this. Here. Even here like that. That's not the end of it. This is just the start of getting in some of these bits over here. Notice also there's a bit of her hair that just comes up here, starts on her forehead like that. And it goes up like that. Goes towards the left here, like that around his ear. Then we're going to start using a flat brush for this. I'm just going to be a bit easier to cut around a year. Same with this sort of brownish color like this. I might drop in a bit of neutral tint and he I wanted to just darken this up to get a really dark brown color, almost black here. And cutting around the ear that go in and do the same thing right here. Here we go. Neck, the darkness around there. And of course, bit of this darkness around the back of a head here and with a hair sort of ends offers around the side here with a shirt. Collar is like that. And on the right-hand side we've got a similar sort of deal. We're just going to be a bit careful with this edge because this is the edge of a face. One chance to do this like that. Softness as well. And what work can I can do is sort of blend this up later on. But for the time being, we're good to go. Some more of this darker paint that I've got here. Basically, some brown, raw umber. I'm gonna do the same. So to deal with just getting this bit of hair here, using these sort of criss crossed. Sort of like what I'm doing here, will compound and start to add up over a bit of time. What we'll do as well, It's probably lift off if you do this paint as well afterwards. But you want to leave some of that previous wash on there so that it's not all, of course dark. Really important to vary these brushstrokes a bit. Try all the brushes like a little filbert brush or something to get in. A few little strands are sort of these bits of curves. You can also use these sort of motions, circular motion, like what I'm doing here. Circular motion. And what it's doing. It's creating a little softness on the edges of the hair. Make that kind of indications of curls like that, like that. And as you can see, it's starting to emerge slowly. Very, very slowly. Got beats in here as well. Just put in a few little dark spots. But I've had a bit of a play around in here. I'm going to start working on some of her facial details. And for that I'm going to use a little bit of this brown color. Firstly, I will add a little bit of color TO eyes, just a little bit of brown to remove the white of the paper, something like that. Eyelashes, a very dark. The eyeliner as well. He's pretty fairly dark. So you kind of want to go in here. Ophelia intentionally, just around the top edge to begin with. Then you can do the eyelashes and sort of just drop them in. And you want to make sure that these paint is really thick. Because you only get one chance to shine is to make the good impression with this. One of the most trickiest parts to do, the eyelashes kinda makes sure that paint is watery enough, dark enough at the same time. That's an eyelash here. There's an eyelash here. Eyelashes are quite long and they go upwards. You can see as they go upwards like that. Bit more VGS here, like that. So we've done the top, the top one. And also on my putting a little bit of eyelid while we're here. Also has a sharp edge like this. Underneath little bit of dark eyelashes as well. They just couldn't come straight off like this energy come to the middle. They, they've come directly down. Then as we go to the slide, they move a bit to the side as well. The pupil like that running through the center. Let's have a look how it appears. It's okay at the moment. The corner or the edge of eye. Let's, let's try this one. Outline the top of the eye. Quite dark again, as I said, pretty dark. Look at that reference as well and try also to make sure that you've got the shape of AI and fairly aggregation, almond-shaped eyes, almond-shaped eyes, fairly, fairly wide set. And putting the eyelashes this side. When you doing eyelashes on the opposite side, especially if you're left-handed, right-handed. I mean, this left-hand side, it's a little trickier. But persist. The little eyelashes on the left to get a few of the bottom as well. If you're coming out there around the edges like these. Bottom of her eye as well. There's a little bit of darkness in the bottom of her eye, very, very slight bits and pieces. So you don't want to draw that in, but just a bit. I'm going to dock and the inside of the eye just people, they're just not dark enough as well. We certainly need to work a little bit more on darkening some of the features. Features, but basically the the inside of the eye and probably the eyelashes. I'll redo some parts of it later. The outside of the eye here, the ring around the eye that is also slightly darker. You can see. So we'll go in and just darken that a bit. Really makes the eyes pop a bit of that. Let's get into nostril, little nostril there. And Kind of slots a little bit, kind of goes diagonally like that. Then these notes true here in just a bit of color like that. There we go. We've got a bit with a bit of a nostril in. Now, what we want to do is just get some indications of the sides of the nose. That most truly here, this side of the nostril little bit there. I'm going to go ahead and put in a bit of color underneath the nostril like that in order to signify the bottom part of a nose as well like that. And it goes up in there actually, that this is too strong. I want to just soften that down a little. Let that dry. We'll come back to it in just a moment. I'm going to work a bit on her lips and a bit of color in ellipse as well. This is just some neutral tint. I'm going to work on the line in-between ellipse regarding just a bit of darkness in here. Go up like that. Down here. Comes up in the corner like that. Really, she's got some teeth in there, but I've not indicated them too much. We may actually go in there later with some gouache indicating a bit of the teeth. But at the moment I've just left it almost as if it's a straight line. I don't exactly straight but observed the lips and see how the line starts nims. And I can sort of later on we can decide whether we want to add in some of the some of the details of the teeth. Bit of darkness under the lip, as you can see here, that forms a bit of a contour on the bottom lip. It's kind of a sharp sharp so the shadow, if you look at it, I'm going to leave that in a bit more. Sharp shadow underneath the nose as well. You see just here comes up like that. We don't need this one to soften this very slightly. Effect goes up into the nose a bit as well. Look beautiful. Shadow here for a cheek, just a slight bit of paint in that section. You can use a really small brush to indicate this as well. Just a little bit of color on that brush here. And this adding a bit of a kind of a line there. And I'm going to darken that left side of the face just marginally here. Soften this edge. A little bit more paint in there. Soften, soften that edge there as well. Carry this further down like that. Connect that a bit onto lips and the bottom of the chin. A little bit of extra darkness there. Sometimes you do get these weird little drawing effects like these. And the only thing you can do is suddenly just wait for it to dry, go back into it, and change it around. Or you can just add a bit more color in there. Tiny bit more color. Just spread it around like this. That looks a bit better. It does happen when you're working with when you're working with smoother paper, you can get more detailed, but at the same time can be very precarious. Soften that. They're just constantly adjusting, adding more color in here near the, I thought a bit more, a little bit adopting this tiny bit of darkness underneath that, those, those eyes. Also, I'll start doing some of her eyebrows, little bit of black. He had been neutral tint mixed with brown and run the same consistency as the eyebrows. That's really eyelashes. And we're going to stop putting in feathering in a few of these. Let's just here. In the reference actually appears very, very, very strong, very strong sort of browse all the way down like here. Like that. I'll do the one on the left as well. Bit more here. Carry that across like that. And then they kind of ends in this little, little point like this. I think that thicker than that actually they kind of like this. This one I'm going to go over the top. Let's be a bit bolder. Be bouldering and create the extra bit of darkness and that section. Fantastic darkness and decrease some dimensionality even on that left side of a nose. Bit of darkness there. That's better. Bid in her ear, would be darkness in an ear. To indicate some of the contours inside of t0 is like that. Don't have a dude is where we kind of just get to the point where you feel starts looking okay and then just leave it. You don't want to over. 9. Complexion One: Shadows: Emphasize anything in here. Again, this underside of a jewel would be perfect if I just dock in the little extra around here underneath, the little bit more darkness underneath there as well. That essentially I'm just using the same mixture of burnt umber and a little bit of neutral tint. Soften that edge off a bit, of course again, we want softness in that shadowed. Excellent might just also soften this a little bit of shadow on the NAEP and Nick just every year just soften that up a little like that. Looking into a face, what else could we want to potentially add in here? I can think, well, underneath the chin is actually a bit more shadow under there. So I thought I'll add in a little bit of color like that. Just a little bit. There we go. We're getting there. I'm going to use some of that leftover paint on that right-hand side because it has some kind of warmer tones in it. Little bit more red in their skin does have a lot of warm already. Sort of Moroni sort of hues in here as well as obviously some browns. I think that's okay for the time being. We're going to continue on with that for a bit, but I'm going to go straight into her clothing. And let's put in some colors for clothes. Let's go with some let's go for what's in the reference photo. Neck. We've got a bit of this kind of orangey red colored know what it is. Sure. Something a bit of that in there. It's quite a strong color as well. I'm going to add a bit of neutral tint in here to darken this red, to give it more, more oomph to it and maybe a bit of brown, tiny bit of brown. It's not want it to be too vibrant, but we do want it to be a bit darker than the actual. I just want to make it a little bit darker. Go along here. They're putting in orange. We have, of course, we do have some nice vibrant bits in there, but it's not overwhelming. It's not the whole thing. Going over. Let's bring this down in here, in here. Let's have a look. How far does this actually go down? All the way, all the way to be honest, all the way down here. More orange that's putting some bit more orange in there. Let's put in a bit of red. And of course, a bit of that neutral Moroni sort of color here with a beautiful brown. Just want to keep this interesting. I want to keep the colors a little bit more. Changing a little bit more. Just changing around a bit. Her jacket is looks to me to be a lovely turquoise color. Turquoise. Let's just drop that in like that. A little thicker turquoise color that I'm using going over like this and you will get bits of overlap between that color. Should the show or whatever that she's wearing. And I'll show you exactly what it is. Just sort of like a warmer colored round that down. These coloring it all in the same color for the time being. What I'll also do is start adding in a little bit of darker paint. And this will allow me to indicate bits of this jacket that she's wearing. And not only that, but the folds on the jaggedness. So important. Just simple way to do it is wet into wet. It's fantastic way that saves time. I can not only just do it for that, but I can also do it for this. I'm really not sure exactly what this thing is wearing, but it looks like a kind of part of a shirt. There. We don't have to indicate everything. We put everything in here. Just enough, just enough to indicate some of the codes. There's some vertical lines also on her on a clause which I thought I'd just drop it in real quick like that. The right-hand side, of course, we've got perhaps a bit of shadow. I thought I'd add in here a bit of darkness coming down in here. They're fantastic. Now comes to the background, the 3'-end bit, I'm going to pick up a bit of green undersea green. Let's put it in a bit of that green here. And then I'm also going to use up the top loose cerulean blue. Up here. Oops. No good. I might just use some of these other colors, 11th color. It's very, it's almost close to cerulean, but it's not better that lavender color below this green. And I'm going to try to get these two to mingle beat. Because in the background it's really just, it's very greenish. I want it to mix with the hair just like in the reference. Really liked this reference photo because there's a really interesting mix of colors going on and it really kind of combines with farewell. Almost looks like it joins on a little bit more of this color. Here. I'd love to make the backgrounds more kind of what you call it, more, more expressive and with a lot of abstract brushstrokes. We've got trees and things in the year. We can even get in little indications of branches of stuff running through the background. Yeah, it's not set in stone. Change this up. We didn't have to follow that reference exactly. As I dark and you start to see the figure kind of emerge out, portrait emerge out better. A little bit on the shoulder here, dark and they're here. I'll actually merge a little bit further down here. Be done to a clothing. The base here little bit further down here. Let's pick up a bit of a warmer color to get that in this fantastic merging a bit with the background. Like that. This would create some softness and some interesting textures in the background. Do you like to mix a bit, sometimes a little bit of darkness in the background. So these are just little, I thought that it'd be nice. Why not adding some abstract tree shapes like branch shapes going here into the background. They're not really as predominant in the reference photo, but you have a bit of artistic license here to change things up. That's what I'm trying to do. This one does too much to today. I want to make it soft stool. Too much sharpness in the background is going to detract from the subject and the subject is not the background. This subject is of course, the person in the portrait. You want the focus to be on the person, depending go intentions. But for me I want to make I certainly want to make the person more of a focus in here. That's why I'm doing softer shapes in the background like this. But it creates some interest movement in the background. Too much of a shop. Her we can soften like that. Don't want too many sharp edges hopping on about it, but sharp edges will draw attention. There's some here that's a bit here, but a lot of their hair and her face. Now, final steps while the background is drying and drawing, what we'll do is we will be working on a few little extra steps here. So basically just adding in a bit of a In extra finishing touches to a hair, I'm going to lift off bit of colorful her hair as well to get some highlights in. But the really dark bits, I'm just going to start dropping in just a little bit of darkness in the areas. Got the flat brush, I think we'd probably be best for this. Just little bits and pieces. They're going up, they're getting a few of these kind of cosin and I made these kind of circular, circular motions like this. They get out to the edges, right to the edge of a hair. That's when I'm going to stop and blend it out a little bit because we would want some of that other lighter bits to show through. But some of this stuff, as you can see, he is very haphazard. It's very quick, spontaneous. To make it look more natural. Ironically enough, the more you some comes sometimes sort of fiddle around. It can just look a bit too forced. Just wanted I'm trying to just add in a little bit more texture to the hair. To the hair. Now, we will soften part of her hair that joins onto the background. The photograph is actually joins on quite, quite softly. What I'm gonna do is use this filbert brush and lift off bits and pieces. I have this other filbert brush, which is a little bit larger, but this one here is perfect. For this particular scene. Did have softness there. Just softening some of these edges, a little. Encouraging them to kind of blend into the background like that. Just encouraging it to merge. Emphasis slightly. That I want to also get almost like some little highlights in here. Does that makes sense? Just some very basic highlights. What I'll do is I'll give this a really quick dry. We'll finish off with the rest of it. Because there's only so much detail I think that I can put in right at this moment. Just want to soften that bit off at the bottom. There's so much I can put in right at this moment. Actually here at the bottom has shirt. Fair bit of it is actually in darkness. You can see it's joining on a bit to the shadows here in the shapes here in the background. These trees and stuff like that. Let's see some more sharpness and you look bad. You got to balance the sharpness with softness. Speeds, Dr. nothing but probably could do with another tree or something like that. There can live with that. Balancing it. Making sure that it's not too much of a distraction from the subject in her eyes. I want to just drop in a little bit of warmth in there because they're not actually completely white, is actually kind of a bit of warmth in it. In her eyes. Move that around ever so slightly. To have a look. We can work a bit on lifting, a little bit of lifting with this Philbrick brush. So I can go in here and this bit of paint has not dried. Unfortunately, I've just lifted off funny little thing out here in the background. I can just try to soften this a little bit so that it doesn't appear too harsh. But it's no big deal really. A thing like this. Little bit of softness, hearing and just lift out. Let's lift out like a co something he had just a scrubbing around here. Bits and pieces here. Lift out. I've got a bit of a tissue. You can lift that a bit of paint like this indicates some little curl or something like that coming out from the side. And then a little bit here. And we're going to catching the light in a bit. That that brush. The brush but dad that tissue, if you've got a tissue onto the page to pick up a little bit of that color. Also, what you can do is you've got a bit of white gouache. I mixed that up with a teeny bit of brown to get it slightly opaque. And then I'll just jump in a little bit of this to get in some of these lines and curves and things. Very, very subtle. But another way that you can do this, I think that that's too light. Daka, daka like this. Having a bit of that run through. I want to make it brown enough, especially that these ones look a bit too light. Just a bit, yeah. Be here, coming off here. This layering does help. Here at the top. Soft enough parts of her hair as well here. Softness there. Be here perhaps lift off, some bit of paint like that. Lift off maybe a bit here, even just in certain places, it's a good idea to do this. Helps to create contrast and boundaries like that. Not too obvious as well. I can do it here. You can even just let that dry, a bit of water dry there and accomplishes quite a similar effect as well. Maybe you've been on the shoulder here. They're a bit here on the right side of her color. The shirt, MS. Dos, liftoff. Liftoff. As you can see, it's things are starting to emerge. Bit of color, light starting to emerge. Now. Just want to lift off some more on the top sections for the hair. You can see, I find it looks more natural if you do this rather than use a bit of gouache. For all the highlights, a little bit of gouache is fine, but too much squash. And you're going to end up with you're going to end up with something that doesn't look exactly like transparent watercolors. So we just got to be careful with that. More code and stuff. And I can add in a few more, perhaps even some really dark ones. I think we've gone pretty much almost the darkest any way through here, but I thought why not just adding a few more often? What happens is the watercolors dry. Then you heavy look really sort of looks quite dark before, but then you lose a lot of that afterwards. This early, a certain maximum amount of documents that you can get at times suggest do what you can be more than how eyebrows, the darker bit more here on her left eyebrows. Well, just darken that eyebrow. Little. I haven't looked at eyelashes. Just holding the brush further down as well. And by doing that I can get more control. Few extra lashes. Sees one on the left as you can see that just coming up a bit more, that just extra ones on the bottom like that. Okay. I think they're all we're just doing here is refining, adding some extra bits and pieces. I'm not going to get a teeth in. I think I'm quite happy with how it looks. At the moment. I may want to just dark and slightly eyes getting rid of brown. Dark and very slightly and it lies like this. Because they thought that light actually pretty dark. You didn't want documents in there like this. Excellent. Of course the pupils little darker. It's very hard to see him, you but just dropping extra darkness and implied perhaps peoples in their drive that brush inches of the eyes and you have some darkness in there. Touch of darkness in some areas. I want to really emphasize that all too much, but you can see it kind of comes all the way down. He I don't know if it's just part of eyeliner, some eyelashes, small eyelashes in there, but in boundary of eyes, I just want to draw out more bit more funness. Good shirt. There's a bit of darkness in the shirt as well. If we move further down just around here, kind of miss data, bit of that there and kind of cuts in their meeting. Even on this side of the shed is a little bit of darkness on the inch. Very slight. Here there's a bit of darkness as well. Soften that a bit. Have a look where else underneath here? An example, a little darkness under there. We're getting there, we're almost done, Almost done. A few little finishing touches. I thought I'd get a few bits of her hair just coming out like this. There's a bit of brown paint. Just sort of curliness come off on the edges. Like that. Just makes sense. He saw a screen, the lines go in circles. That's how you can get these codes and very quickly. Because actually the little ones that come out, and although it looks quite soft in the reference, I thought a pretty suddenly he's come out of there like that and like that than to leave him down to the bottom. You can see when they're more tightly wound. Here at the bottom as well, running an ear here. The top little bit as well. Try to kind of change and vary your brushstrokes where they're not all the same. That's probably one of my biggest tips because different. But as they draw you notice what happens is that they become more soft that shine that initially appears and disappears. We've finished. 10. Complexion Two: Gridding: Okay, So I will be sketching this little portrait here. And I'm going to start out just at the top where her hair is, sort of just cutting through this section, this box like that. And it goes up about here. There's actually a kind of a band or something, something a bit of hair tied up at the back there. So just a little indication of that. I'm not going to try too hard to indicate where that is. And we know the hair comes around the side, around the edge here through this box on that right-hand side. Trying to get a very generic outline for it rather than drawing the actual hair itself, we leave a lot for the watercolors. As per usual. Then when you go to bitter here, that sort of comes in around the edge like this. Coming in here. I'll make it come through halfway. That box here. Left-hand side. Let's do the same thing. Coming around the edge like this. Just know that a bit of hair sort of coming through the air and some strands here and there. But the main thing is really just getting in the outlines of her cheeks. And also we had temple is almost cuts through about halfway through this query dark there's bits of hair just sort of going across her forehead. As you can see, just like this. There there's some running a bit more to that right-hand side as well like this. I'm going to just go ahead and place the jaw line. You can come down and slightly slower towards the right. Chins roughly here with the other side of the jaws or just put that in roughly here. I got towards that can be sort of a face the other side. I'm just going to join up like this. Pretty basic. And a minus will get a neck in as well at the moment. Like that, that nick on the right-hand side coming in about roundabout here. Third, the way through that box. Warning towards the right-hand side. Just get this area. Neck just below indication like that. Of course, we can start putting in a bit of her clothes to sort of runs. Here. Connects up around here. This side comes up here and finishes roundabout here. That this little blue here, little bow tie that just underneath that color. A couple of bits coming down the bottom. The other side. Course, running all the way towards this other box here that we're getting a bit of a shoulder here as well. I'm going onto the edge of the page there. This one running all the way down like this. This shoulder really just go out into the corner like that. Looks pretty alright. The time being. I'm going to start working on a bit more of her features. Also just getting a bit of her hair here, just running across the back. You can see it just across there and then across here as well. Just a bit of indication for that hair there. But for the rest of the hair that's pretty much in there already. There's not much I need to do about it. It's really just getting in her eyes and the other facial features are actually put one of her eyes about here. Corner of the eye. That one round about halfway through the box. Here. One. Notice the bottom of our eye is pretty flat, whereas the top of the eye is more rounded. And she's got her eyelid just coming out and around the corner here like this, something like that. And a bit of the eye just coming across their side like that. Left eye. Again, just positioning it roughly here. Might actually change the position of this eye a little bit. To go more towards that right-hand side. There just needs to be a bit more, tiny bit more space. Just drawing the top of the eye, which is a kind of a roundish shape like this. It'll be more rounded. The bottom, which is just almost straight like that. Of course, we can refine this more once we get into the watercolors later. For the time being, this should be okay. Do you have a cotton bud as well? In the cotton bud really helps at times to get in some soft shadows and bits and pieces implied in there. Just get in her left eye now. So I'll started on that and it was the edge of it was around here. And it's slightly on an angle going upwards. Mourn. That leave enough room on the edge of her eye as well. Believe the eyelid They're kind of missed out a bit on that eyelid on the right-hand side, unfortunately, but I'll go back into it later and get some more details in. You can see just some of her eyelashes as well here. But what I'm gonna do is just put in her inside of our eyes. Just a little bit of shading in there to get started. Also work on our eyebrows a bit, just a little bit of that eyebrows going across there. And of course this eyebrow here just on top. Like that. It's harder to see. A bit of shading in the good old cotton bud. Does the trick. Actually can see that there's more shade running across the left side of the face, the light source coming from the right-hand side. A bit of a cheek there as well. I'm going to just put in a nose. And the nostrils. This one here almost comes to the edge of that I like here. I can just start putting in an OSCE, true? Not true here. There we go. Bit of the cheek as well. These small lines near cheek. One thing I like about this reference as well as just this shadow that's underneath and nose, which is quite a sharp shadow, will be able to get this in greater detail with the watercolors later. Putting a math known relation to her nose. It's around slightly a little bit wider than her nose. Try to line it up with parts of the eye. Here, look at the smile lines as well. Teeth can be tricky to do. Drawing this line up here and this is gonna be the kind of boundary of her top lip. Just draw the top lip in just two quick indication at first area where teeth here and a bottom lip. The bottom lip like that, start just putting in a bit of darkness around the edges of her, of her mouth. And then using the white here, we're going to just draw out some of the teeth. Not too obvious, just a bit of white here and there. Starts around here. That h of that tooth. The tooth to the left. A couple more. Again, it's more just leaving out a bit of white in there. That's the trick. And tell you do it. Don't try to actually draw in all the teeth are just mainly just leaving out a bit of white tweaking around. Sometimes it looks a bit funny or they look a bit misaligned. So I just tweak it around a little bit and try to make it look a bit neater. Beautiful color for her bottom and top lip. Just a smudge like this. It does help. I don't want to really put in much detail at all just yet. Good. And of course, we've already outlined some of the shadows of her face and her nose. And this largest wouldn't shatter. That's cuts across mouth and forms a kind of shadow, part of a face and then down here as well. So again, a lot of this stuff is going to be reserved for the watercolors later. There's some shuttle Wolf was underneath and Nick as well here. An indication of her necklace that we are done with the sketch. 11. Complexion Two: Painting: This one I'm going to be mixing a little bit of Titanium, white, buff titanium actually, with a little bit of yellow, hansa yellow to create a creamy sort of yellow. And I'm gonna go straight into a face. Let's try that out. Looking. All right. I'm gonna go over all of the features like even ever heard the bottom of our eye here. And over even into her hair here. Now, her skin tone is slightly, has a slightly yellowish bias, but there's also pinks in there as well, which is why I've mixed in a tiny bit of pink into this mixture. So I've got yellow, a bit of Hansa yellow medium, which is a vibrant bright yellow. I've got a bit of buff titanium to dial that down a little bit, so it's not super vibrant. A little bit of red, a tiny bit of red. Because it's not normal, just yellowing and they're going around I'm just going to go around like the top of your head here and you'll find that it's actually where the hair is sort of cuts across her forehead. Pick up some more of this paint, Let's get that in like this. It's a little bit, a little bit more vibrancy in the yellow. Bring that down. And he had cut around like this. I'm going further down. Their case has got a bit of a year and year as well as just a tiny little bit perks up. And of course, here we have her lips. And I'm gonna be using a little bit of pink for her lips. A little bit of pink. Just getting the contours of a face in the jaw line here. And as we go down into an egg, in this video is probably the easiest bid, because we just got to get almost one flat color for the whole thing. But we have to do it quickly because now we're gonna go in and add some shadows and things to her face. Just some very slight shadows. Now up at the top will notice there's a soft shadow underneath the eyebrow there. I'm going to drop in a little bit of tiny bit of darkness underneath the eyebrow just a little bit like that. It's the best time to do it because the paint is still wet. A little bit of softness here on the right side of a cheap Very, the soft, beautiful color there. Underneath the nose we have a large, large sort of shadow, which I'm not really going to get in just yet. I'm gonna wait for that a little bit of time later and then we'll go into it. But we can do things like shade the eyebrows very, very slightly. But of course, I don't want to forget the lips. And for that I'm gonna be using, like I said, just a little bit of little bit of pink, but I'll go over just the edge of the ellipse one more time. Because I want to, want to create a bit of softness in there. A bit of red. Again, I'm just going to drop that in. Just like these. These, this will create a soft edge. For ellipse, both the bottom and top lip. Bottom lip is bottom lip is a little bit more larger than a top lip. Just like that. We have been colored in there for a lip. Do you think I've gone a bit overboard with that corner of the lips so I can just lift off, liftoff the very gently, just slide this bit of color like that. Too soft and down. But apart from that, feeling happy with how that looks, it's going just over with a top lip off. Actually find that they should go over teeth a little bit more closely to a teeth like that. The edges, there's actually some darkness in the edges, but waiting till later. And we'll get a bit of that in with some darker paint. Some of her eyebrows I think are getting really with some darker darker paint. Like these have dried off that brush picked up some neutral tint. I'm just going to feather in a few light strokes like this for her eyebrows. Just to start off with. And then we'll do the same here in the slide. One-by-one. Just add them in. Hold the brush down closer to the top of it. That way you have more control. More control in that. Won't just disappears a little bit off to the left. Can see exactly where it goes, but the Neeson hair. Fantastic. Now, let's add in a bit of color for hair. Before I do that, I'm going to just actually pick up some darkness and edit into eyes. Because what we need is actually a bit more detail for placement on them as well. I'm just gonna kind of like a darker colors, neutral neutral tint in here. Like that. Neutral tint. And it's still mostly water in here. Mind you it's just mostly water, but I'd say about 70% water, 30% paint. Cross like this. Light line edge of I like that. And then we'll do the other one as well. Just a bit of darkness in there. I put in the edge of the eye a little bit at the bottom. Well, that top part of the eye, a little bit like that. She's also got a eyelid which comes out a little bit on the edge like that. So I will get that in. Same with this one here. That very subtle eyelashes, if you notice they actually catch the light and then they form a shadow. Cutting across this side of the face here. It's quite subtle, but it's prison. Let's try that. Neither I, there's a bit of darkness here. It can just soften that. This one I was just also soften a bit like that. Then soft edge for that little bit of that shadow costs I'm an ether. I look now again like the inside of the eye and not entirely white infected. They kind of have a bit of kind of like an off-white color to them. I'm going to just color in a bit of color through there. The edges of a mouth is extra darkness. To make sure darkness and they form the boundaries for a teeth, just these little bits of dark sections in here. It's neutral tint also mixed with a bit of reddish color. I can just go ahead and shape some of the teeth bit more on that bottom lip. Like that. Marginally color in there. Like that. Some extra darkness on the corners of her lips. The edges in here. Then. Excellent. That's all drawing. I'm going to add a darker shadow later on everything. But before that happens, what I want to do is perhaps getting a little bit of the hair. The edges of our eyes use a bit of darker color, especially sort of like soften off the edges if they get too harsh, but you still want to indicate the edges of your eyes like that. So it come out a bit more like that. Because actually fairly dark inside our eyes because there's order shadows being cast from above. Fantastic. Great. Let's put in a few strands of color for hair. The same brush and I'm using, Let's put in a few quick ones. There are few here running over to the left-hand side. I can do this pretty quickly as well. I think it will look better like that. In fact, some of them are really quite dark, so extra darkness for some of these trends might be good as well. Fantastic. I'm gonna go ahead and pick up myself. Flat brush now. In this flat brush is gonna be great. Getting in some extra areas of the hair. The top part, especially I'm just using some neutral tint. I might mix a bit of brown in there as well. Just to get it a little warmer. There we go. Just put in some of that color like this that it cuts. Use it to cut around our face to speak here. Sort of curves a bit more to the left, actually. Beat behind her neck here and draw. This comes down like this, knee and neck. And it forms a bit of a border, boundary around a nick and then creates a bit of a structure for Joel. Put a few little strands just kinda coming out like that. Would do the left-hand side as well. There's a bit of tiny, beautiful sculpturing here, but I'm not going to really worry too much about that. I'm just going to get it in back part of a head sort of picks out a little bit. Continuing on the wood, a bit of brown mixed in with the neutral tint. Same thing for that left-hand side. Drawing this across face. Get some shorter strands like this. We go beat more here. This part of her hair's kind of like a larger strand that just runs across. And then we've got some smallest strands that just curve across like that. In fact, the ear is mostly in darkness over he just leave a little bit of the H like that. And I'm going to go in and again, just start drawing in beautiful hair running along the left side of the jaw. If I'm creating a bit of a negative shape here like that, you can see some of the hair that just kinda kills around and forms a few little bits and pieces here. That down this neck. We have basically most of her hearing right now. Of course, comes here comes the tricky part, which is putting in some of these dark shadows on a face. And probably a bit of a frightening part for some people. I'm going to be using a little little mop brush. I'm gonna be picking up just a bit of neutral tint with the neutral tint mixed in some brown in here as well. The goal here is we just want to get in a pretty dark shadow. It's not as dark as a hair, but almost as dark to indicate this sort of shadow underneath the nose. And so I can just add in a bit this color and neither nose like that. Get this sharp. And as seen here and here, that sharp sort of shadow. You can only do this once as well as you really got to be quite careful. We know that it kind of cuts across the top lip, like this. Little bit of across the top lip. Whoops, something like that. Then that moves down like this. Like a bit of a shadow underneath nose and that kind of runs downwards into her mouth as well. Just like that. Now it looks really dark and add a place at the moment. But we leave it. And I'm sure workout little bit shadow here on the left side of the face. Again, a fairly sharp sort of shadow IT and also some of it comes up into what I hear. That. Be underneath this one. Here for the cheek that joins up their jaw. Here. Just a little bit there for a small line on that, Ryan inside. This is all just drying off, taking a little bit of time to dry. Just waiting a little bit. I'm underneath her chin. Well, we notice there's a darkness here that forms a bit of a shadow underneath here. More like here, and then just darken off a bit like that. The shadow again is just sort of costs a bit to the left that disappears off to the side there that we have and believe her shadow underneath the chin. Destic. This is all starting to come together. While that's drying, I'm going to work a bit on her clothing. I've got some ultramarine blue here, which are mixing with some purple. Just to give it more of a reddish bias. And I'm going to just put in some of these into a clothes. Especially here where we've got these stripes to white stripes here. As you can see. You can paint them in that topic there. These two stripes that we've kind of cut around, but usually negative painting get in that Ryan side. I'm gonna do the same thing here. I'm getting a bit of that one stripe like this. Second one like that. More purple in here. And then another one here. That of course would you the rest of her clothing just drop in some extra color here a bit more the bottom like that. Tie here, I'm just going to call the read o in this kind of bluish color. Get into general color running through like this. Then it runs down. ****. Fantastic. I'm gonna go back into her face a little bit and add a little bit more color for eyelashes, things like mouth the edge of the mouth and bring that back, bring back the edge of the mouth like that. In here. Maybe a nostril in here as well, just dock and off a little bit under here to indicate the nostrils more underneath that shadow, that bottom lip like that. In fact, there is actually a very light shadow underneath. I bought them leap like these. Slight shadow like that. Great. Work in a bit of color into a noise. Now, just the edges soften that beautiful nose like that. Wouldn't have been of color up here to indicate like a slide top of a nose tip of her nose there. Some more of her eyes, more, maybe some of the eyelashes. Somebody just come directly down like this. If you look at the eyelashes, the top ones just come directly down. That's what's costing some of the shadows on that left-hand side there. Great. Just thinking of soften the shadows up a little bit, just lighten it very slightly as well. It might look better. Pick up a bit of color from that show. Just soft enough. Good. I still want them to be shadow there, but I do feel like that shadow was a bit too dark. This is what I'm doing. Anatomy of water on top. Like this, and shift around that paint slightly. You still have a sharp a shadow. But it's just a piece of software. A little bit more and lighter as I want. I'm trying to say here on that right-hand side with the cheek. Softness there. In fact, a bit of softness here. It would be good. I'm just lightening this area. Try to blend it a bit with the skin. Even here. I think that some emerging areas on her face. Great. Good, good, good. Bit more for the eyebrows like these. A few more lines up there for actual eyes and just darken this one, vary a little bit more. Dark in that one a bit more as well. Oops, extra darkness in there. Good. Soften a bit of the shadow on the chin as well. Just soften that up. Here's well, this shadow over here on the left-hand side of the face soften a bit of that. Shadow is still kind of bugging me a little bit. It's tend to dock. Little bit of lifting has certainly helped, helped to lighten it. Marginally. Fantastic. So still looks like the light sources coming from that right-hand location. I'm a little bit of softness and the indicate a soft shadow here, indicate the shadow on her nose like that. There we go. Just a bit of that color like that to really see much on that right-hand side of her, but perhaps a little bit there. Little bit. They're very, very marginal. Be like that. Good, good, good. Fantastic. Let's put in a few more docs around her nostrils just a little bit here, for example. I want to draw, and let's choose a little bit more from this area and of course, ellipse, the little parting between the lips. Specifically, this has to be a little darker than that shadowed in front of it. That's what I'm doing. I'm just putting a position to be the darkness and the edge of the ellipse. Like that. Let's have a look at our eyes again, just darkening the edges of the eyes and the outside edges like that. Bit of fw the pupil in this eyelashes, eyebrows and a few more darker, few more darker strokes up here. The thing is with these slightly darker sections that I'm adding into going to make the shadows appear a little lighter. Makes sense better if I do it this way. Initially, this part of the nose is more, slightly more of a point there. If you can see slightly more than the tip there. Soften this edge again of the shadow. Good. Yeah, certainly getting there. Trial and error. Slowly working this slowly working this portrait. B to the x sides of a hit that EA is little under shadow as well. This eye here, this is a softer edge there. I'm going to soften that. Soft in here as well. I like that. More darkness and the here. So I'm going to darken in there like that. Could imagine maybe the darkness and year as well for the shadows of the hair, of some of the darker bits of hair. Why not just imply bit of that? Maybe a few more darker strands. If you feel like you've missed out on some of those previously, you can, of course at the mean, another opportunity to do so now, the top darkness on tops and be very difficult to work anymore. I'm just trying to get the edges of her hair Malthusian here. To create extra contrast. See the shutter decreases little bit. Now the thing you can notice is the smile line as well. Another sort of softer smile line that just runs across the shadow. That more water. Softness there. Let's look at any other positive face. We can probably work a bit on that right-hand side. And again, just to bring out that the cheek, a little bit of extra cheek, that corner. Really for the rest of this, it looks quite okay. Me put a little bit more more there and then soften the edges and extra. Again, this is just the cheek out of a cheek. Here. Being very careful not to go too high up as well. Good. Metastatic. Do. I might lift a tiny bit of paint often to get a bit more of a contour for a jaw. The edge of a jaw showing through some of these darkness here as well. We lift off a bit of pain. The way I do this is just run a brush over that area with a bit of water. And when it dries, it will actually draw a little lighter. As you can see, these section he has dried very marginally writer can do it here as well. The side of a drawer. Same sort of thing to just sort of carve it out a bit from all this darkness. Good. Now while that's all drawing because I've been feeling around a bit, I'm going to just work a bit on her clothing, the rest of the clothing. And for that, I'll just drop in a bit of water for this section. Bit of water in a bit of this bluish color that will indicates some folds in the fabric and that kind of thing. I don't want too much of it. But just a little bit going on in here. Just a little bit of softness being indicated in the right-hand side. We don't need to worry about too much because it's under direct sunlight. You'll notice here these bows, well, there is a loose shadows, sharper shutter running to the left hand side for which I will try to get in like this. In fact, operate at the dock and Hobo a little bit too. Beautiful shirt just indicating some more details and you, yeah, there's even a necklace which we can then start drawing little bit of that in not really fastest or the details, but something like this, be good, runs through underneath the shadow, like that. Color here on that side. And not much though, just a little bit fantastic little bit of color underneath here running off to the edges. We are finished. 12. Complexion Three: Gridding: We're going to start the drawing. And one of the first things I'm gonna do is just go in right with her hair up the top here and you can see just a few sort of strands popping out on the top like this. Then I'm going to just quickly get in. We just have a look at where the hair finishes roughly up these corner kind of goes up and then goes down. Just a rough indication like that. This part of her hair here has a little bit on the side, kinda like, uh, like a pineapple. Let's go ahead and do this side of her head now. Hair and we know that it kind of goes around forms the sod of the left side of a head like this, all the way down here we go. Now, one of the easiest things I'm gonna do is just start putting in her forehead. They're marking in general forehead like that. We know that they sort of just cuts through there and exits at the bottom. This is another strand that just runs all the way down the side of the face actually frame. So a face with the chin right here. What I can do is actually just drawing the edge of her face coming up like that. I'll do the same thing here on this side as well. And getting this side of her jaw just like this. And you can actually see her ear around the side there as well, which I'm going to just put in very gently like this. We'll also just getting parts of the hair. This side there that kind of comes down yet. Then we've got, hey, just sort of running down past the ear, like this. Running down there. This one is sort of cutting across and down. Knew her clothing like that. Let's just get a nick and as well starting a roughly let's say a roughly about here actually. That just comes all the way down here. I think I might have to widen to draw a little bit. That coming through like that. Then straight, they're wearing a jacket that goes through here. But before I do that, I'm just going to get into part of a skin that runs down just to make it a bit easier. Running down in here as well, just the boundaries. She does a shirt and that's a shirt. There. Do you notice here it's sort of just comes surround the middle of this middle of this box goes up like that. There. We can just get in part of a color. Again, this side of the color. They're running across under there, like that. Coming across here. This shirt running through the center like this. Some of them are actually cutting across her. Hijack it towards the left like that. Just a little indication of that as a few strands are running across like that, it's actually just got really large hearings as well. And believe I miss those out. I'll have to get them in a bit later. Really at the moment just trying to focus on her chlorides and try to get in some more details. And that's the color here. Of course, a shoulder comes out there and runs towards the back like that edge of her shirt you can see a little bit or that white shirt behind her jacket. Here we go. We're just going to go in this coming down here. Color. Of course, the other side of her jacket was just dips write down and kind of the shoulder their bid. Um, that's about it for a clothing, I'm going to start working on her face a little bit more. There we go. And I'll just get the corner of her the edge of her hair here. Here. Again, this is just a bit of hair that's cutting out around the side there that I think the general structure of the face is they're really at this point, I'm just looking for anything that I potentially would like to change around. I think I'm okay at the moment, we'll see how we go. How I corner of her eyes around about here. So not the midsection of the grid, but just slightly lower than the midpoint. I'll put her the corner of her eye roughly here, the other side. And I'll just draw in this sort of shape or four. I kind of like an almond shape like this. And the other eye. There's little bit of space actually, kind of starting almost here. Notice actually her hair covers good portion of the sky corner part of that I it's mostly in the dark, actually. Just go long and created a video of a structure for that. I like this entire stick bit of the eyelid as well, I think would be good just putting a little indication of where the eyelid is there. And then I can start putting in some of the eyebrows, like here. Here. Bring that across. And no stroke. There's one just to round about here. Bottom part of a nose there. And the other nostril on the side here as well. Coming up like that. Drastic. I do ever quite welcome using cotton buds to spread around a bit of this shadow. Very light shadow is running across and you can only really do this with a cotton bud. It's very difficult to do it just with a pencil alone to get very soft shadows. In fact, underneath the nose there's a larger shadow. Kind of imagining the light source coming straight from above. Looks like light sources coming straight from above. You see like a nick here is a bit darker. Little darkness here. Details, bit more details for the nostrils. And I'm just gonna go in with the mouth. And the bottom lip starts about halfway through the grid here. And getting a bit of indication for that bottom lip. Now, a lot of it I'm going to smooth out because it's kind of a softer edge. The end of it is like here. You've got a bit of a mouth, you can see it's open. See a little bit of a teeth but probably can skip that out. Don't have to put it in. The rest of it. I'll just try to smudge in cotton bud. Something like that. Chin here. Beautiful, cheap burn showing through like that. Just going to work on our eyes a little more. Here. Pretty dark. I will just color the mean. Basically like that. There. You can actually see all the eyelashes as well on her. You can wait until later. We can start putting in a few little bits and pieces like that. I think waiting until later she'll be the better option. I just wanted to drop in a few in there to see what it looked like. Roughly good indication of where your nose is, the nostril holes and underneath her nose. This section here as well, which we've just dark and offer a little bit. Darkness underneath the eyes, slightly. Cool. I think that's about it. So the rest of it, I could just go in and sharpen up a few pieces here and there. But for general drawing, That's pretty good. 13. Complexion Three: Painting: Okay, so we're gonna be starting on this portrait. And what we're gonna do is mix up with a color for her skin tone and she's got a slightly yellowy sort of skin tone. If we mix up perhaps a little bit of yellow ocher with a bit of this color here, which is buff titanium. It's a kind of off-white color, just mixed up with the little yellow ocher. I think a bit of the little bit of this hansa, yellow as well, on top of that little bit of red, tiny bit of red. But I do want it to be more warm biased. So that's why I using more warmer tones here. I'm gonna go through and just make sure there's enough of that. In this mix. Let's have a look at supply that straight on. And have a look. So it looks to be at the right tone. Remember, you're looking for trying to match it. You're looking at the reference photo and you're trying to get something similar to the total you need to look at the tone of the skin is the easiest kind of warmer? Is it cooler? In this case? Certainly a lot warmer looking. And that's why I'm using this kind of more of a yellowy color. It's got a lot of these little yellow ocher in it and mostly yellow ocher when you're doing going into the skin as well, you can certainly change while the paper is too wet, you can still change things up. So don't feel like you're sort of stuck with it. But while you're painting, just continually examine what you're doing and look at the look at the scene, look at what your painting. Look at the colors and compare and see. I mean, at the moment I'm thinking perhaps a bit more, a little bit more yellow in there, slightly slight warmth in there would be nice. So just I've added in a little bit of yellow ochre. Do have a little bit of pink as well. So I want to add in a little bit of warmth at the same time, going over lips like that. But we have a more warm bias in here. I like that. Move that around. This is just a bit of buff titanium of editing. They're carrying that down neck. This what I'm gonna do is just carry this whole wash all the way down so that we've got basically most of his skin covered on this. I mean, you have to really redo any parts of these again. There we go. I've got a bit of that in now. What we have to do now, it start looking at some of the soft shadows and afford that I pick up a bit of this darker color, neutral tint. The trick is you mixed that neutral tint with the other color that you've used for the skin tones. For this, what you can do is just really just drop it in. You can drop that straight in the side of a face like that. And we can get in some darker tones underneath the eye here, near the edge of a nose here, top of her eye he ages very, very slight indications of color here. On top of it. I like that. We're going to have a bit of color on top of this. I like this. Underneath this ion is a little bit of darkness there as well. What have we got? We've got a bit of darkness underneath and nose. This is something that I'm going to emphasize perhaps later with sort of sharp a shadow in there. Beautiful softness, softer shadow in there, a bit of shadow underneath a lip here. In a bit here in the corner, like that. Little bit of color here. Still underneath the eyes. Very, very light sort of shadow underneath there. And underneath the neck. I'm going to just drop in some of this neutral tint mixed up with the normal color of his skin as well. Because it's actually a little bit dr into here. And the reason why is because the light source is coming directly from above, but it is a slightly softer light source. The shadows or not. We're not having very sharp shadows on here, but we're certainly getting a shadow here underneath her neck. Looks like that's all starting to take into effect and So to dry off, now what I want to do is pick up a round brush. And this could a little number four round brush. And this round brush I'm gonna be using to pick up just a bit of this darker paint. It's just it's kind of a neutral tint. I'm going to drop it into our eyes. I'm going to make it very sort of light and dark region first, and then we'll darken it more later. But I do want to get in just a bit of color. Large, sort of expressive kind of eyes. A color inlet that we're going to need more darkness in there later. But this is a good start. Okay, this is a good start. Perhaps a little bit of darkness for her eyebrows as well, just a little bit. Just to get it started. The edges of her eyes, we can just start feathering in a little bit of darkness. Like this. Not too much because it's still wet here, but the edges you can still define part of AI. Let me just cut across like that. Runs up a little bit more on the corner there. We go to the eyes in and also putting them into the nose, the nostrils like this. Just software sort of look there for her lips. What I'll do is just add in a little bit of red, tiny bit of red in here. That's too much. I want it to be just a bit more subtle than that. Mix this around there. Bottom lip in here as well, just a bit of softness in there for that bottom lip. Top lip. You can actually see the outline of that lip a little bit more. I might just keep it like that for the time being. Let me soften it later, but we'll see how that dries off and we can always amend and change things about later on. I'm going to go into her hand. Now. I'm going to be using a little flat brush, which will allow me basically just allow me to get in some dark areas of a hair. This is a flat brush that has kind of uneven edge, so it's kind of cut on a bit of an angle cut diagonally. This will allow me to getting these little marks like this as well, sharp little marks as well as broad marks like this. We know that they kind of cut straight over her forehead like this. As you can see, a bit more color, a bit more brown mixed with neutral tint like this and come across this left-hand side as well, but like that. But again, like I said, you've got these little, I got these little bits of softness here that I can add in, like these little bits running through like that. That really helps to essentially create a bit of interest in the hair bit more character. That because even pizza the hair that just sort of stick out different directions and it looks quite interesting. So I'm gonna just mini-computer that putting in a few strands there, few strands coming out. It was the largest with strain here to the left-hand side like that. One coming up like this bit here like that. They're like here. Some darkness and a bit of brown running through here like that. Carrying this down fairly dark. Another thing we do find is that we have the hair that's just running across a face. That kind of creates an edge for basically the shape of a face. So it's quite important actually to get those beats incorrectly for this bit here, just the top of the head. It's a lot easier because It's almost like just one large shape. The painting, what I'm talking about as we're told, at least sort of areas here. Sort of part of a face that kind of cuts across. We have to pay more attention. Cuts closer to a face like this. That's kind of out of this strand of hair that runs underneath the face, underneath the chin into runs towards the left-hand side there. Few more bits strands of hair just coming out. I'm using holding that brush right at the end in order to getting. Softer, more spontaneous brushstrokes. I forgotten to get in part of a hair here, sorry. Just getting a bit of paint like that. Their work with it. Like this. These largest strands that are coming off like this. Towards the left-hand side. You get some new year as well that are just bits and pieces. I use this to sort of shape face as well. It's really important to take your time here and certainly feel like you're in any rush. In fact, there's large bit of hair that just comes across her face. I write, I like that. You can see it just cuts across like that. And then the rest of it is just this bit of hair. It runs across the right side of the face. This kind of bit runs just over a year. That they're good, good, good. It's just coming off this darker sort of strands there. Other bits of strands coming across like that. Using the edge of the brush. It's important to do this while the paper is still wet and this whole area is wet, so it just blends together into one. Of course, the ear here I just wanted to put in a bit of indication for the details there. Great. It looks like the hair is only in. Okay, I'm gonna just stop putting in some details for our eyes with a smaller round brush with a bit of this neutral tint that I've got. Let's just start working in a bit of the details. We're eyes. In fact, the eyelid here is really heavy. That then even the eyelashes quite heavy as well. Let's put in a few ones like kind of coming off like this. Just to start with like that. Of course, the edges of the eyes, a bit of darkness and the edges of our eyes. And yes, I'm just trying to dock and more and also in the inside of her eye to this extra darkness in there. So a bit more a bit more color in the inside, like that. The other islands, Let's darken that one down and we lose. Well, please start putting in. Stop putting it out on lead actually, just darker. More with a line like this. Top shape, more of a darkness underneath there as well. Goes into a soft shadow, joins into a softer shadow like these contours around her nose. The eyelashes. I just want to work on this a little more. They run that kind of like this is good. They're going a bit too high up there. Just a few eyelashes and then underneath as well. Quite a few as well, just coming out like that. Okay. Eyebrows. Fairly dark. It actually almost appear just as one big colored in area. I'll start off, maybe just start off just going a bit softer first. Doing one, beat by beat of the eyelashes, eyebrows, I mean, like that underneath the nose and those truths like that. Darkening some bits and pieces even here underneath the mouth. Notice there's just a bit of darkness. There. The line in between the lips like that. Also went to getting slightly sharper shadow on anything nose with a bit of paint. Not too dark with just a little slightly sharper indication of this shadow here. Just like that. And I'll soften off the edges. Actually soften that edge betweenness, soft enough that one too. Just to make it look like there's a bit of a shadow underneath their nose. Great. Bit more pink around her lips like this. Soft in this shadow more as well. Edge of that shadow just needs to be softer. Fantastic. I'm going to work a bit on extra shadowing of the face. Just pick a bit more of this paint. Tiny bit underneath here. Soft shadow here on the right-hand side of the nose. Here as well. Joins up and be there. Just soften this top lip a bit like that. Fantastic. Soften that a bit smaller, that little bit of shadow here. Good. Sometimes what you'll find maybe easier is if, even if just redo or varus, you can even go over, see if I go over this whole spot again. The nose and the right side of the face, like this, and add a secondary layer of paint. This will then soften, soften this area for a little bit as well and get rid of some of the ink congruencies and artifacts of the drawing sometimes when it dries funny. So this is one thing that you can do. Almost like just adding a secondary layer. You can go in again and just begin adding extra bit of darkness in areas you want. Again, just further increase the darkness. Good. Bit of red mixed with Buff Titanium, get a pinkish color for an ellipse. Soften the top of it a bit like that. Now I'm just going to work a little bit on her clothing. Let's add in some blue. A little bit of this color is basically ultramarine. I'm just going to drag, drag a bit of color through here. These distributed ultramarine for that part of her shirt jacket. We'll do it here as well for that right side of her jacket. There. Work my way down here, further down, just trying to get the whole color of the jacket, really, a bit of ultramarine plus a bit of this purple. I think we'd be nice cutting around here. Work on this side a bit more. Come down here. Again, there's a bit of a shared which is white. So we cut around that beautiful white for a shirt. The rest of her, it's like a denim jacket. Then that Ryan side of mixed in a bit of darker paint as well. Bluetooth, neutral tint, actually like this. Bit here, underneath, here. Underneath the labels, the labels like this, G indicated by slight darkness. Put in a bit here as well under their bit of blue. I can hear. Finish, finish this off. I'm going a bit more blue under here like that. And started to splatter paint around. Great. We are almost done. Faunal beats is really for me just tidying up. Just tidying up. And when I say tidying up, I mean just finding bits and pieces that I want to draw out. Extra details that I want to draw out. And I know for the eyelashes here they've kind of disappeared a bit. Redo them like this just to reduce some of those eyelashes. And perhaps a bit of the top ones as well. The top eyelashes. I'm going to make them a little heavier to match the ones to the left. Like this. What happens with eyelashes? You'll find that they, as they go to the ED, the sides, they turn more towards that direction, whereas the ones right in the middle pH to go directly up. So that's one of the things you have to keep in mind when you're doing all eyelashes. And to make sure that they look really stick few little finishing touches. I'm just going to put it in a bit of color for a shirt. And the labels are just some dark darkness to draw out some contrast on the clothing. Especially some of the shadows behind the labels like here, here, here. Looking to put all too much work into this, but a little bit there. Fantastic. We're finished. 14. Complexion Four: Light: Okay, so for this portrait here, we're going to first look into a skin tone and try to figure out the actual color. Now, it's kind of all sort of skin tone. I'd say there's a little bit more yellow in it. So when I'm mixing it up, I'm going to add a little bit more yellow and specifically some yellow ocher. At firstly, I'm going to start picking out a couple of brushes. Now these are a couple of smaller watercolor mop brushes. And I'm thinking perhaps the bigger one, maybe good because we're going to be able to get some just a little bit more paint in there. So clean it off a little bit first, Distributive leftover paint, and I'm going to pick up some yellow ocher now this is a yellow that isn't too vibrant and finance is very dull down kind of yellow. Remember this is not going to be very dark wash at all. So just a bit of that yellow, a little bit of this. Purlin read, anybody at that purely in red but mostly yellow in there. This yellow ocher. So just dial that down a little. And we're going to go through I'm just going to put in a little wash over her face and k just like this. Cutting around her eyes as well. Just a nice little thin wash over the top. I'd say it's about a quarter paint to three-quarters water or even less than that. So you just want it to be very, very light. For this section here, we're basically preserving the light on the skin and also on her. Beautiful can't really see them anyways. So it's really just to hit and her neck going through dropping in a bit of paint like that. Of course, just ensuring we're getting enough coverage. And then now one of the things to remember as well is that we are going to have a little bit of shadow on the right side of a face. You can barely see it, but there's a little bit more darkness on that right side of her face. And I tend to use a bit of this color here. We can basically just pick up a bit of gray or a bit of neutral tint and just dropping in some parts of a face or just on top of it. I like that. Maybe around the edge there. Just around the side of a mouth. There's not much shadows on her face at all in here. It's very, very hard to discern any of those shadows that softened. I'm very soft shadows. So whatever you put in there just has to be quite subtle. So I can notice definitely beat on I a little bit around her nose as well. Just around here, just around her the right side of a face. I want to get this all wet into wet while I can so that we don't have to apply any other layers. So we kind of get it in all with one quick wash like that and I'll probably leave that off to dry now with the rest of her clothing, I'm going to go into it and I'm thinking I might use just a bit of a grayish color, which I know. If I get a bit of neutral tint, just water it down a little bit. I'll do also have a tiny bit of these undersea green and we'll mix it in a little bit, just a little bit of undersea green in here. And then I'll just drop this in and we'll be able to get in a little bit of lighter section here for clothing and cutting around her head a bit as well. But you're going to see also around this section a lot of it's just gonna be pretty dark and wait for that to actually and dry off slightly before I go in there. But I can of course go into her actual clothing and very quickly just color that in with a light wash and it's the same consistency as the consistency on a face. So it's about a quarter paint, but you'll notice that it's actually darker. And that's because neutral tint and often a lot of cooler colors will be darker even if you mix less water into it. I'm just going to go over the top of a clothing over in here. It's all just gonna be quiet. Quickly done. Can you get more of that neutral tint, a tiny bit of green just mixed in there as well. There we go. Just drop that in like that. I'm going to go all the way to the edges actually over in here and carry this down. I need to add more water. Again, it's a lot of this is just pretty much the same, the same color, but we will add some darker tones running through to keep things interesting. So here we go and just dropping in more of that darker, grayish sort of painting here. Of course in the background think we'll change it up a tad. But what I'll do is I'll mix up a teeny bit of this dark color here. Just a bit of neutral tin, maybe some purple, neutral tendons and purple just mixed up in here. And what we'll do is we'll be able to drop some of the scene. As such suggested getting a few of these folds and stuff on the fabric. And it's probably too purple. Just mix it in with a bit more of their neutral tint and we have a bit more here. There's something here. We're just getting some really light indications of her clothing. And of course it's sort of wraps around like this. Then you might have a bit more darkness around here down the base. So I'm trying to get most of this done wet into wet to save myself a bit of time for later. I found that the more you can paint wet into wet, the more you should take the opportunity to do so because like I said, one, it looks more natural, intuitive, saves a lot of time. Especially with the little folds and stuff in the clothing. You're going to need indications of soft shadows. You don't want all of it to be all harsh and very harsh looking as opposed. There we go. I think that's I think that should cover it for the clothes. We can go into a little bit more later if we want to, but I think I'll keep that how it is. Now. What I'll do also is start working a bit on her hair. And what will pick up is a little round brush. Wrong round brush. You want one that has a flat edge. The top flat brush has a flat edge like this. And what I'll be doing is basically just going in, okay, so now that the top area of a head has dried, this gives me an opportunity to pick up some dark paint and I've got a bit of brown here. It's basically some raw umber, raw umber, burnt umber. And I'm mixing this with a bit of neutral tint to really darkness down a lot. And we're going to just go over and get a hearing. Few brushstrokes. Now, one of the things to keep in mind as well is that she does have some of these glasses that come over the top of the head. I'm wanting to make sure that I'm implying, I guess cutting around some of these glasses and getting in steel, making sure that we've got in enough of her hair and indications of hair like this, but cutting around the glasses as well as a super important thing. Okay. So just a bit of a little bit of hair running behind like that. And then we're going to get a little bit coming down the side here. This more sort of I think it can be used to create indication of her cheekbone just to sort of a face like that. And I tend to just touch and go really this one here. I'm just going to make that up all the way across there, across the top of her glasses. That this slide here it goes all the way underneath her glasses as well. I'm just going to cut around like that with there's any white bits, I'll just fill in quickly. You can dry off the brush a bit as well. Then get a bit of dry brush section near where head connects onto the hair. And that just creates a little bit more interest. Fantastic. I think that's that does the trick for eyeglasses. And a bit of her hair going around her glasses. Fantastic. So now what I'll do is looking to a close a little bit and find some areas that we can darken down now around her neck here I think extra darkness he will be good. Mixing up a bit of brand and a bit of that neutral tint. And I'm trying to just create a little bit of contrast here with her neck and just with the clothes, just a little illness in here. It would be nice if it blends in. Then so be it just a bit there and then I can soften some of this down, then that's also fine. Just in here. Running in there. This is not a hair by the way, so it's probably want to make it a bit more grayish in color. Rather than, rather than sort of brown color. And I'm just going to indicate a bit of the folds and stuff on the fabric. Obviously the fabric is starting to be the paint on this area of the fabric of their clothing is starting to dry off a little bit. So I'm able to get in some sharper lines, sharper edges on top of basically everything else. The previous wash, which includes some softer shadows and what have you. But this is good because we can now just work on some of these bits below. So just looking at the reference picture and we know there's a bit that kind of curves off, goes around this edge, that side there and then kind of wraps around here, goes around a bit. So I'm looking at the reference again quite quickly. I don't want to, I don't want to imitate it exactly. All the folds and what have you ever just want to use it a bit of just as a general reference. Know where to start putting in some of these shadows and what have you. So I'm going to guess this area here might be a bit darker down the bottom, but I'm not going to overdo it. Great. And perhaps a bit more, a little bit more darkness at the bottom as well. I can just pick up tiny bit more of this paint and drop in a bit here. Larger sort of brushstrokes running across because I do feel that there's just not enough darkness here in the corner is sticking out too much and I want the focus to be mainly on her face. Sometimes you need to do stuff like that. To draw the attention back to the subject case. Now we are ready to start working on her facial features. And for that, I'm gonna pick up a smaller brush. I've got a really small round brush here to number six and number four round brush somewhere. And with these brushes, you'll be able to get in pretty much all the details that we need on her face. So firstly, for her lips, I'm thinking a bit of red in there would be nice because she's actually wearing some pretty dark red lipstick. I can drink mixing a little bit of neutral tint in there, but I don't want to overdo it. So let's just drop that in quickly. Like these. It's mostly just say it's still mostly water or about 50% perhaps water because I don't want it to be too dark. I still want to do an ellipse to look transparent. So just coloring over the top roughly around the edges. Like these are normally lips have quiet, soft edges, but not in this case because she's wearing this red lipstick. So you can certainly make out the borders of her lips are lot more obviously than say basically, Basically, if it was if she wasn't wearing any lipstick. So we're gonna leave that to dry off a little bit for a moment. And what I'll do is start working a bit on her face and little bit of the details on a face. And I'm going to add in a tiny bit of green for eyes. I've just got a bit of undersea green and I'm going to drop that in. Just like these around her irises. Just a lot sort of shade of green. Can darken that off a teeny bit more often when you've got his Witton wit stuff going on like these, it's a lot easier to adjust, add a bit more coloring as a little bit more darkness if you need to. But I tried to preserve the inner part of the the I wait for it to dry a little bit first. Then I'll go in and add in a bit more darkness. And I'm going to go around and let's go around the edges of her eyes. Now I'm going to use a bit of ultramarine blue mixed in with a teeny bit of this neutral tint there. Just to kind of cooler color. I'm going to go around, Let's do some of the eyeliner just like this, and I'll hold the brush a little further down as well. And finite gives you just the slightest bit of, a bit more control over what you're doing. So that kind of a bit of a winged eyeliner. They're going off to the edge, done in a bit more than the actual reference, but that doesn't matter. So we'll do that again on this side here, connect it all up. And it might touch part of the actual the eye, the iris, but doesn't matter, just let it do its thing. You'll also find on top of her eye there is a little crease for her eyelids. So I'm going to just try to get that in now with a bit of dry brush work like this. Just in the kinda just go at all or a round like that. Let's do it for this side as well. Just using the tip of the brush and holding that brush near the end as well. That really, really helps a little bit of color in the center line now for the pupil. And what this would do because I'm dropping it in while the paint is still wet around it. It just softens it up a bit. It doesn't look so harsh. We can always readjust later too, if it's a bit too much. Can also go in a bit to a nose that's getting some of the nostrils. Just drop in a bit of paint like that. This one here. Like that. 15. Complexion Four: Shadows: Fantastic. We showed a soft enough as well in some areas if you need to. Sometimes if it's too dark or what have you, you can lift off a bit of paint. Do you find around her nose as well? There's a little bit of shadows, especially around here, so I can just drop in a bit of pink in here as well. Just darken off that part of your nose and on that side as well. And even under here is a little bit of shadow to the right side of her nose. All the right sort of sections of a nose like this slide of the nostril there. Here. They're all soft and shadows as well. So if you do this, you then have to pick up a bit of water and just soften that edge like that to create just a softer shadow there. Don't want it to be too obvious. That makes it look a little bit more three-dimensional. You can also add a teeny bit of color on that right-hand side of a nose just around here, near her eye as well in there just to draw out some of the features of her nose. And it also adds a bit of that shadow again on that right side of her face. So teeny bit of shadow, the teeny bit here, like that. Fantastic. I'm going to just go into a eyebrows a little now with a bit of brown and a bit of neutral tint. I'll dry off that brush and just start feathering in a few of these marks like these. Kind of going over to the right. They're more on the left as well. This little bit darker. Leave that to dry off a little bit. While that happens, I'm going to actually go underneath here, just underneath the neck and create a larger variation, as well as around the right side of the face. Just to create a teeny sort of shadow around that age as well because it is actually darker around the edge and underneath the chin here. So just did a little bit of darkness like that and soften it off as we move towards the left-hand side. Again, just keeping in mind a light source to the left. So that's essentially what I'm doing. Making sure that there is more shadowy areas on the right side of the face case that is looking good at the moment. Now there are little other shadows on her face just underneath the lip here. You notice a bit of darkness there that actually forms a bit of an outline of a Ching, believe it or not. And then the age of a mouth as well as legal shadows here, very, very soft shadows. So you have to make sure that you're using very light mix of this color. Of course, we can go into this whole section again and just darken it off. Soften part off that part of the lip if we want just a little bit there. Here, soften at the bottom. We add a bit more color here on the right side of her face, maybe a bit more here. Soften that edge, soften that edge. And blend that a bit more towards the right. Like this, a bit more water. We should be good to go. Because the shadows on her face light. There's really not too much work that we need to do here. That's all good to go. Now the last steps I'd say just putting in the final touches. So there's a dark area inside ellipse and I'm gonna be using just neutral tint straight from the palette and dab it off a little bit. Sort of touch into areas like the edge of ellipse here. I'm just drawing that off a bit. Age of ellipse. We know that sort of comes up and there's a Dark Age in here as well. Like that. Nostrils are actually little darker so we can talk in those a bit. And of course, eyelashes, which we can start putting in. I might start rod on the edge and just putting a larger one like that. Get one chance really to do this. Just go in, down, up motion like that. Down, up, down, up to just get in this indication of the eyelashes. I like that. It's more sort of on the right-hand side that we need to focus more on underneath the eyes as well. You'll find that there are a few little lashes in there as well that we can just indicate like these. Just touch on the edge of the eye, like that, leaving a tiny bit of space as well. Now let's work on the ones on the left and a fine, always find these to be more difficult because I'm right-handed. I'm better with the ones on the right. Something you have to keep in mind as well. Little bit there now there's some down the bottom as well. So again, just indicating a few of these eyelashes coming down and dry off the brush a little bit as well with it's tough for you to do this. We can go into the eye, eyelashes and a little bit more again, just dark and adding a second layer over the top like that. We can now use this again, just add a bit more shape to the eyebrow here towards the left. Like that. Darkness here. Around the nostril. A little bit of like a bit around the eye as well, the iris just you see that it's actually slightly dark around the iris, which is going to be emphasized just with a bit of this neutral tint that I gotten there. And it's really up to you whether you want to emphasize the pupil. I'm not just emphasize this one a teeny bit more, and I'll leave the left one. It looks sometimes it's good to have a bit more focused in one of them. Great. Just put in a little bit of yellow for the reframes, the frames of a glosses just a teeny bit like these. I mean, they don't really gold, but I thought why not? Let's just indicate a bit of that little bit of that in there. To keep things interesting. Looking over at eyes as well, seeing if there's anything else that we might want to indicate. I think underneath there I, you can see a tiny little line, a bit of lawn on death. This sort of fun and sort of longitude stretching out and are there. So I'm going to just add that in very, very lightly. Not too dark. Smooth off some of the corners of the lips. Maybe just dock. And in some areas, it's really just at this point, finding extra bits and pieces that you might want to emphasize and adding a node, for example, around the corners of the eyes. It's actually a little bit darker, a little bit more ready she ran this so I'm dropping a bit of color in there, but I didn't want to get rid of all the whites as well. Just being careful with that. I'm gonna be careful these nostrils as well that they're not too big. With this angle. Could put another light wash light wash of red underneath her eyes just to keep it a bit more volume. Really light wash like these quickly, just like that. And let it dry off and do its thing. I like that. Good. Little bit here as well for her, this bit of a cheek, it's so soft, but the edges here we can just dab in a bit of water and hope that spreads bit like that. You can see her cheeks. Also, I've noticed this bit under her nose should actually be a bit darker in here. I'm just adding a bit of pink onto here and blending it over to that right-hand side. Like that. Instead of a loop, maybe a bit more detail in her eyelashes. To define it, you'd go to a smaller brush like this. Makes you work a lot easier at times. Trying to use a larger brush to getting these details. But then at times it can look a bit to foresee you've got to balance it out a bit if it certainly certainly try to use both. As you can see here. Good. I'll just add in a little bit of gouache into our eyes now, just a teeny bit of white gouache. And I have here preserved on the side, reactivate it with some water. And I'm just going to pick up a little bit of it to drop in a highlight in her. I got enough on this brush now, little bit here on the left. So I'd maybe like that and like that. Why not? I think that's about it. I mean, you can also add in a teeny bit around the edge of the nose, but I think we'll just leave that for now. Fill that background. I'm just going to go darker, bit of a darker color. I'm going to use this cat's tongue brush, which will save me time and allow me to cut around details. Let's pick up some green. This is some undersea green here. I'm just going to drop this in here for the background like that. And I also have a bit of darker color, darker brown here as well, which I'll use. Just drop that in. There is also some bits of blue and things like a painless sort of blew up the top so it won't hurt to drop in a bit of cooler color here and there. Bids splashes here and there, which will kind of offset a lot of the darkness as well. Little bit, little bit here in the ear and then just play around with it. Let's grab some more of this color. It's just a bit of undersea green. Here. I'm going to cut around this part of a gloss is here. We're going to just cut around like that. They're not super accurate. We're going to have bits that go on almost like touch her clothing as well. But that doesn't matter. We just want to get darker shape around her clothing in her head. I want to carry a bit more down here as well. And perhaps get it to mix into a clothing a beat because I feel like there's still a little bit of disjointedness with clothing in the background. At times. It actually makes sense to create a bit of emerging section. Let me not for all of it, but just in some areas, perhaps find areas that you can merge. I'm just cutting around those glasses again, want to make sure we're leaving them in there. And better indication of those like that. And cut around there. Good. Leave that lovely blue in there just to mix around and do its thing. If you could a bit of purple as well, I love purple and we can drop some of these in the mix to change things up a bit. Purple. Putting a bit more here as well. Really just another darker color that I thought would be good at it in Here. We go down. Look, I'm just merging some of it onto her clothing. There we go. I'm moving it across like this. Coloring in parts of this section. Here. Fantastic, That is looking quite good for now. I think again, we can start looking at odds of a clause and outlining some extra bits of darkness in here just to re-emphasize some of the shapes and some of the folds in her clothing. Like that I think would be good good deal. Because sometimes what happens is that the paint dries and then it goes lighter. So one hand, it's good to estimate the correct proportion first go, but sometimes you have to give it another wash anyway, say, because what we've got is all this darkness in the background and of course it's going to dry lighter. However, in her clothes, we want there to be a beauty of balance so that it doesn't look all really lights and the rest of the background is just really dark. Just lift off or scrub away in some areas here as well, just around a head. Here. Just to help it blend into the background a bit more like this. Fantastic. We'll call this one finished. 16. Complexion Five: Light: So what we're gonna do here for his skin tone is basically going to mix up a color, basically a blend of, I think a bit of burnt sienna, tiny bit of burnt sienna. Or if you've got some burnt umber or raw umber, going to be good as well. And now we're going to need a fair bit of this because we're going to need to do her entire body. Kind of reddish brown color. Like this. Reddish brown color. What I'm doing is mixing a bit of burnt sienna with a bit of Ron by that creates, gives it a bit of a more golden sort of look to it. I'm also going to add in a little bit of blue, a tiny bit of ultramarine blue. What this would do is one, it will darken the color to each, also going to cool it down very slightly so it's not too warm. Okay. But we're going to find also is on the left side of her face is warmer, so I'm gonna be using some yellow ocher here on my palette here. Mix this up with a bit of Hansa yellow to just warm it up a bit more. But we'll go straight in like this. Just drop in a bit of that yellow ocher here on that left side of the face first. And I'm going to just go around her hair. But the main thing I want to do is just getting some of this lot that's coming in on the left side of the face. So make sure you use a small enough brush to be able to cut around. I'm going to go all the way around. It's more sort of on the left side of the face, down a chin on the tip of her nose here with a light is catching slightly. And we're going to have it on her skin as well further down. We want to just drop this in like this. This is mainly just yellow ocher. Just a bit of yellow ocher. What we can do with this light wash over the top, we can actually start adding in some darker tones. But firstly, I always like to get in the lighter bits first. Alright, so there we go. We've got those lighter tones in there and I'm going to pick up because we've got premix, some of these darker paint. We can drop that in here for the right side of the face. Now, another thing we have to remember is also on the right side of her face. We do have a little bit of light on her cheek here, but a lot in cheeks. I'm just going to drop in some there. On top of the eye. They're kind of goes over the side that even around the lips. A little bit of light in there too. All right. Let's pick up a bit of this darker color that's dropped that in straight like that over the right side of the face. And sometimes you might have to go a bit darker, just pick up a bit of neutral tint and drop that in as well. I'm going to pick up some blue and just mix that in. That's going to also achieve pretty much the same thing, but this all has to happen really quickly so that it mixes in with the lighter color and create some soft shadows in here we want some soft shadows so that it's not all the same shops because we're going to have some sharp shadows and years. Well, we want to make sure there's some variations. A little bit here. B, it actually already dried underneath the chin. So I'm trying to do this fairly quickly, like that. Fantastic. And we're going to leave a bit of this here just for her shadow on her cheek. Lights on a cheek is what I'm trying to say. Around here, like that. Then we're going to have a bit more darkness on the right-hand side of her. I'm going to go over that earring because we will be able to get it in later. Now we can just drop this in. Look how it just melts nicely. In this. Here as well. As we go down, we go adding a bit more brown and a bit more blue as well. This mix Trump this in like that. There we go. And a bit of darkness and E2, It's soften the edge. So when you have these bits and pieces that I've actually draw it off as a touch like you're going to have to pick up that brush and soften that edge a bit. And that's why it's tricky. Working on hot press paper is very tricky for this, for this exact reason, because often you're going to struggle to get all those little details and subtle soft skin tones. Before that layer dries. And you often have to accept a little bit of blocking this in areas to find that it's unavoidable, you will have some glossiness in some areas. As long as you've got the tones roughly in the right area, you should be okay. I'm going to dock and a bit of a neck here. But you can already see this area of the head there has dried with a little bit of patchiness at the top. But I'm going to leave that because no, if we go back into, it's going to look gonna look funny. Now, what we'll do here is we're going to start working on her hair. I will actually pick up flat brush, flow, flat brush like that. I'll mix up a bit of neutral tin, tin palette. I do have some leftover grays and stuff which I'm also going to use. I'm just going to drop it in. It starts around right here and you're going to find also that little bit of softness in this area would be good just to round this part here where it has already started to dry off, but it's still wet. This is actually fantastic. This is a fantastic opportunity to just try to draw pin some of this dark paint while you can and get a softer indication for some of her hair in there. That's just going around in case she's got these little clips in her hair as well, which I can try to get enough missed one out of. I'll try to put in another further up like that, but I've actually color over the top, I think of one of them a bit earlier, like that. And the kind of got these middle sections as well like that. I'm just gonna go over the top of her hair, put it in a bit of that brown as well, tiny bit of that brown but mostly just neutral tint running through this whole area. Now, one thing to keep in mind is that the black on the left side of the hair is actually a little bit lighter, catching a bit of the light compared to the black on the right side of her hair. What I'm trying to do is just indicate that a bit there. Notice this era of a forehead. It's just to kinda stuck on. So I'm going to grab a little mop brush here and try to soften a bit and create a bit of a peak in the center of the head with a hair comes out like that. We can also pick up a bit more paint. Cover this area better. More convincingly that there we go. It just looks a bit softer, a bit more, rather than kind of stuck on like it did before. Grabbing that flat brush again. Just putting in this light wash, neutral tint. 17. Complexion Five: Shadows: I'm going to mix up and it's almost pure neutral tint. Firstly, what I'll do is I'll just work a bit on our eyebrows first. I need to be fairly dark. Just softening off like that. And then finishing off with a little line there. We can do them all in one go or we can do the individual strands. I think I will just simplify this one, these ones down actually just get him only in one go like that. Simplify it down. You can either do them strand by strand and we can just get the general shape of them and finish it off. Is that beautiful eyes again, it's getting this top part of her eye there. The the eyelid to sort of work tentatively just creating a little bit of shape in there first. Then I'm going to actually go in with a darker paint later, but just a little bit of indication of a nostrils again because they disappeared before so little bit, little bit there. The edges of a mouth, I think we need to outline that it'd be better just to know where they are. I can just create a little edge and little potting in-between ellipse like this, just a quick little quick little party in-between and lips, they're fully eyelashes. Going to be using more of the brush, this little one here. To get in these details. Dry it off a little bit. Let's have a look. Pretty Ilona day they come out like this. It's tricky even with a small brush slide, please. It tends to pick up a lot of paint as you can see. Gonna be more water in there, down and up, down and up. But they're pretty dark as you can see, very, very dark. Fairly long as well. So just trying to make sure that I'm getting the mean. Certainly a little bit more exaggerated in the reference. That's just how it's just how they are how they are going to go and just dock and again, around the edges of her eyes, just around here. At the bottom you're going to see a little bit of the lashes also come out at the base. Very, very, very basic ones like this. Let's get in a little bit. It's getting a little bit more at the top here like that. We'll do the same for these ones on the left. Okay, so this one comes out further and we're just going to get in a few of these like that. Some coming out the bottom as well like this. I think I've ever done it with that bottom one there. But what I can do is actually magic work. I can lift off, lift off a bit of that color there. In this section, turn that into a shadow or something like that. That looks better. People say you can't correct watercolors, but you can. You just got to be very careful with it. That's for sure. Fantastic. So we've gotten, like I said, I got a bit of a nostril and I'm going to just emphasize this one more like this. Try to get the shape of it in better and emphasize it a bit more. And also the right side of her nostril here. It's just a bit more outlines. So why not just outline that? Bring it out of this. A shadowy area. Touched a little touch of them. Softer dry brush in there and I think that does the trick. Let that dry off. And you notice it even here on that left side of a nostril, does it very, very slot, almost imperceptible edge there on her nose. Forms the edge of a nose. When it dries, I think it will look better. But let me draw lighter. I'm just going to go in and look here on the edges of her mouth like we were working on before. Again, just to creating bit of darkness, especially in that right side of her lips. Technically should be more shadow. Dark area in here. I am emphasizing some of that a bit more than than is actually there. Fantastic. I'm going to add a little bit of darkness into her ears because we've not got in just enough detail in here to sort of indicate ear is in some of the folds and what have you some just going to drawing a bit of it like this painting, a little bit of it like this, basically just with a bit of darkness in here. More of an indication than anything. Bottom of a drawer even here, I can just outline that a bit better, like that. Just the age of a jewel size and Nick draw that little bit of area of a nick here that I had not I kind of missed out a bit earlier. Runs around about here. Okay. Good. Now for the good old background and we're just going to keep this one a bit simple. I'm gonna go with I'm definitely going to cool down the background a little bit. The reason why is because we've got certainly all of this warmth in the in her skin tones and what have you. So I want to darken this bit down. Do you have this other color code? Cobb azole? Purple, and it's very, very dark purple as you can see. This is going to allow me to sort of cut around some areas. And with a bit more of an edge, mixing a bit of neutral tint in there to some areas. I'm not just going pretty dark like this. Just indicate this area of her armpit and little bit more like that. And same with these part of a dress. Bit of extra darkness in some areas underneath a drawer. I could just emphasize this a little more, tiny bit more like that. Not too much. Further it off a bit. Let's work on that background again. Soften this down. I'm going to create just around this area, a lot of lighter regions. Maybe I'm going to use a bit of this lilac color. It's basically a color code into I think this will be nice, nice, sort of lots of color That's still has volume to it. As we go around her hair. That's why I wanted to just make this lighter because their hair is quite dark, so it's going to form more of a contrast. If I do this, which is nice. I'm gonna put a bit down here as well. Look at that volume, how much volume there is of that color. It's quiet. Even though it's a lot does have an impact. I want the one that I want it to blend into a body a little bit as well. Now around her face, this is where I'm going to just darken this off a tiny bit and merge it on. Hopefully. It's gonna be interesting because actual eyelashes here, we'll have to lighten that up a bit, just a tiny bit marginally, I've at let me I have to even redo eyebrows later. Eyelashes, I mean, just dark and off here forming a bit of an edge to a forehead. Random face here. Fantastic. Move that lilac color, bring that down and lavender color. More neutral tint in here. Thinking I should try to blend that into a body a bit, but just being careful as well. I'm just going to cut around a bit there again them, the clothing. And of course this is another area where we can get a more contrast, high contrast for the down because of her shoulder, arm here, which is significantly lighter as well. By creating extra documents in the background. This is going to draw it out. Draw draw her out a bit more. Okay. I'm going to add in some more darkness maybe we don't brown or something here on this side as well. Just a bit of MIS and see what happens kind of thing. But I do like how the tops turned out. So I don't want to mock that up. Carry this down all the way to the edge. I'm going to paint all the way to the inch. Good. Right? That is looking good. I'm going to pick up a little bit of gouache to put a highlight in her eye teeth as well, just so that I draw them out a bit more, just a little bit like that. Once this dries a bit, what I'm going to do is actually go in and do her earrings as well in there. With a bit of gouache. They sort of draw them out a bit, but I won't let this dry for a second. I've got a bit of kwashiorkor which I've taken straight from the tube. And I'm going to use these just mix with little bit of water, not too much. Painting, her earrings. What I'm going to do, looking at the reference photo, you can see even actually drawn it in a little bit here as well with the pencil beforehand. I can actually still see a bit of it in there. Just dropping in these little little round pods like that. Like that. This one kind of goes around ahead and this one just sort of goes onto a year or even like these. Some of them are it darker but we don't have to worry too much. Just getting the basic shape of them. And I want this one to go further down roundabout. Here we go. We just connect it up with slightly maybe broken line in areas. I don't want it to be too obvious. Here. We'll just kind of dry brush that line on an areas and skip over some others like that. And we'll do this one a similar sort of way as well. Like this joined them up but don't make them too perfect to follow on that starts and then make them stick out too much. Fantastic. See some little highlights. After a while, you can just taught the begat little highlights on her face that I missed out a bit of white on the I I'm going to call it over it before, so I'm trying to just recover some of it here. Reshaped the eye a little bit, kinda helps, he's kinda widens the eyes slightly actually has the effect of that. Cautious fine to use. As long as it doesn't look obvious on there. There's even with her clips in their head that there are little round bits in the clips, which I can just indicate like this as well. Little bits of these pearly looking things in there. Good. Fantastic. And I think I'll call this one finished. 18. Complexion Six: Painting: We're gonna make a start on this 11 of the first things we're going to work on is the skin tone. So again, just making sure that we can match the tone that's in the reference photo. I'm gonna be using a little bit of burnt sienna to start off with. It had been sienna here on the side and mix it up nicely. You can also use some of this yellow ocher as well, which is again that DO down yellow. If you don't have yellow ocher, you can mix a bit of yellow in with some neutral tint debited gray, or you can mix in a bit of buff titanium as well to get a creamy yellow. Just getting into a bit of this. We're gonna go in with the cheeks versus just putting a little really light wash on her cheeks with these more sort of yellowy mixed to start off with. But there is a bit of brown in there as well. I'm going to go over her eyelids as well and just leave out the whites of her. I going to go through this pretty quickly, just go over the top like that. Well, like this, it's important to get this all in one go because you will find that you get a nice mix. If you do it in one big wash and see, it's not even a year, but I'm going to cut around ellipse because I'll get in a little bit more red in there. Here, cutting around again, just going through a drawer line of just a route domain here, down across to a nick here. I don't have enough for a handle on that right-hand side, but we'll do her head a little bit later. I just want to focus on a face a bit more first. Fantastic. What I'll do right now is start looking at getting in some darker shadows quite quickly while the paint is still wet, I've mixed up a little bit of bluish color on that right-hand side. Just to darken down this makes it doesn't matter exactly what you use. A little bit of neutral tint mixed in with a bit of that brown that will work quite well as coming in here, I'm just going to put in a bit of darkness on the right side of the face. Just underneath I just on top of her eye here as well, where it goes up into her eyebrow like that. Just a light mix. Remember the shadows and the right side of the face of very, very soft. There's not much that you need in terms of super dark colors or anything like that. Just a little bit like that. Be done to the eye. He is still accidentally gone over a bit of the whites of her eyes. That's okay. We can lift off a bit later. Here. There's a bit of darkness on that right side of the face that goes up there around the edge of her eye there as well. Then of course, up until your head, forehead up here. Now these are just a bit too harsh. There'll be to the edge there is a bit hard, so I'm just trying to soften down that edge a touch before we move on. Little bit here underneath the chin. Working with hot press papers have quite a challenge because you're often working faster than you'd normally work. Dries faster, so it demands that you adapt to that pace as well. Little bit underneath here, I'm just trying to have a look. So to squinting into C roundabout where the darkness stats around about maybe here, just soft enough that edge a bit as well. Good. Underneath the chin and the jaw is there's going to be a little bit more darkness there too. And for that we will need a bit of paint. But before that happens, I'll just I'll just sort are dark and a little bit off the top of her head like that. Sometimes you get a bit of shadow coming through the left-hand side, even though the light source is coming from the left-hand side because it's hitting some of her hair, you're gonna get a little bit of a shadow cast so that right-hand side as well. Before I forget little bit of red in the lips, I'm going to mix that in with some of the brown little bit of that for ellipse, tiny bit more red. If it mixes in a bit as well, that's okay. We will try to soften down that edge a bit later. I just wanted to get in an indication of an ellipse to start off with first, we've got the main skin tones. Now we're going to work a little bit underneath her neck to just around here to create a slightly sharper edge. Areas still wet. So we have to work carefully just to make sure I don't create too much of a mess in here. But I want to join it onto a nick like these. And probably later on as well, I'll add in another layer over the top just to sharpen off that Section bit more. So a soft enough that side I'm going to soften here as well. Softening is just adding a little bit of water on the edge and allowing it to sort of blend through. We can do it here as well. Just soften off that edge of the lips. They're just anywhere that you might see a bit of a bit too much hardness in there. You can just lift off a bit of paint and create a bit of softness. Fantastic. I will now go ahead and I think I'll put it in a wash over for a hand, which I will mix up the same color, just a bit of this burnt sienna with a tiny bit of red. Okay. Sienna with red. Fantastic. And maybe a little bit of this yellow ocher as well in here. And we're getting a lot of light reflected off her hand there. I might just actually color in her head, mostly this color. Then we'll drop in some others in there. Bear in mind, there is kind of a bit of brown in here as well, brown with a bit of yellow. Just going around, cutting around. The fingernails like that. Just sort of comes down further into her slave fingernails. I might just pick up a bit of red, tiny bit of red and white and mixed together to get a pinkish color and drop that in there for the nails quickly. You can see not much effort there to get that in. And then for the shadows, I'm going to pick up a bit of this darker paint up the top, which is just a neutral tint or gray color mixed in with the reds and browns. And I'm going to just drop that in specific areas to create a bit of shadow and darkness in some parts of a hands, fingers, especially these little softer shadow in here, underneath there as well. That sort of creates a bit more interest. Little bit there. Like that, a little bit up the top there as well. Remember in just to soften that down a bit and we'll go back into it later and potentially add some more bits and pieces and details, but that's okay for now. We're going to go little bit further up into this blue area covering her hair. I might actually use a bit of lavender color, which is kind of like a lilac and lilac color. Drop that in there. I'm having a look to see if it is actually strong enough. That looks okay. We'll just go around and paint it. And I'll actually get in the hair a little bit later. But I thought this would be a good place to start off with abilities. Lighter colored parts up the top here. It really looks nice when compared with all the warms in the skin, the warm tones in a skin goes quite well. Fantastic. United, we move down further as well. What you'll find is you're going to also get some of that teal color down in the clothing, but I'm going to pick up a little bit of little bit of orange. This is quinacridone orange. And I'm going to drop that in, in some areas here, just bits and pieces like this. This is just going to create a bit of interest. Those flowers in bits and pieces on a, on a shirt. Okay. Just here and there. I mean, I'm not trying to getting anything specific here, but just a little bit of that color in there. It would be nice to change things up. It's also a complimentary color. We're going to have blues mixed in with this nice complimentary. I've got a bit of turquoise here. Some of that turquoise, Let's Trump that in this. Some of it might make, some of it might not. I'm just going to cut around some of these bits and pieces of the The orange. Some of it if it mixes, That's great. If it doesn't, that's okay as well because actually it's more sharp edges in here. Go right to the edge actually. Trying to keep it quiet, spontaneous, relaxed style. Going around and neck here, just color this scene. That left side as well. Maybe button here around our color as well. Let's have a look further down here. Just more cutting around. Yet again. Kenny, actually further down her clothing, I think turns a more of a cream color down the base, which I just leave out. Keep it white at the base. But few more of these lovely brushstrokes you don't have to color in all the areas where we can leave some areas white. That's not a problem. Sometimes it actually makes it a little better if you leave bits of white in there. As you can see, I haven't colored all within. Bit more. Fantastic. And of course I will drop in a little bit of dark bits to indicate just some folds and things on the clothing. Years draw it a little bit too quickly so I wasn't able to get any end, but this is just some neutral tint that I've picked up that I will drop in. Like this helps to darken off some of these ears of a clothing create a bit more interesting here. In fact, there's part of her clothing, this section here that just runs straight down like that. Just a bit more little bit of interest in there. I've gone a bit far here, but walking cover that up later with some background color. Let's go ahead and get some color in for her facial features and also her hair. To start off with are actually just work on our eyes a bit. And I know I got a bit of gray in there before, so I'm just trying to lift off some color in this. Imagine putting a little bit of water and just lift off with a tissue, get some of that white back in there. Otherwise, we will just be able to use some quash. Perhaps later on. Kind of looks a bit like a shadow on her eye anyway, so that's fine. Little bit of this color. Darker brown mixed with neutral tint. Just drop that in for the location of the eye. Colored part of our iron also a pupils. Great. We're going to start working a little bit on the edges of her eyes to just to get in some additional details. Let's put in a bit here, the corners of the eye and that pick up a bit more paint as well. This needs to be very dark. There we go. I'm just going to get interpreted that eyeliner on top of the eye here. Same with this one on the left, like that comes down so it is drawing out the shape of our eyes a bit more. Identifying them more. Some bit of red in here. Red and black. Neutral tint basically mixed together. And I'm just going to outline the bottom part of her eye here. Be the extra detail they're tested. And we'll just do it here again, the bottom like that. Fantastic. You will start noticing that there are also other shadows. Look up here. There's a bit of shadow up just underneath and brow there. You can see I'm just putting a little darkness and that edge. See how that goes and we can do it here as well. Of course, we have also added in some of these darkness from the previous wash. It helps to have similar softer shadows in there. Over here we'll just put in a bit of nostril. Bit of a nostril here as well. Just a quick indication, nothing special. Dry off the brush. And what I can do is again, just indicate the nostrils a bit more fantastic. I can do it on that one a little bit as well. Start working beautifully eyebrows. I'm just going to put in a quick outline like this, just a doc and then they'd be up, but I will probably just get them all in one swoop. You can do it in two ways. You can get them in all at once or you can actually draw each individual eyelash, eyebrow, build up, build up, build up the detail in there. He's a bit of the eyelid on that right side of it. I little bit of darkness up here and we'll do it on this one as well. Here. That fantastic. I'm going to put it in a bit of colorful ellipse, just the edges of the ellipse to indicate like the edges of the mouth. So here, perhaps here. Then through the center as well like this. So far, so good. I'm gonna just written a bit more color on the outer edge of the eyes. Pupils perhaps just indicate a bit more shadow underneath the lip. Here that I need to get in. It's a shop, a sort of shadow which I will just leave leave to dry off. Just think about where else? Up on top part of the lip there is a bit of a darker spot. Years, we'll just indicate that just quickly, just a bit that kind of joins up underneath and knows there's a slight bit of darkness in this section there. Apart from that, all the other shadows of the face are put on their sufficiently in my opinion, they have this soft and I don't want to go back in there again and risk ruining it. I'm just going to mix up a bit of neutral tint and a bit of brown here to get myself an eyebrow color. And again, I'm just going to put this all in one. Go. Let's try starting here, for example. And we'll go in here, follow the general shape of that drawing that you put in before and just get it in like that. Just one quick go. That's one way to do it. You can also just individually put in the eyebrows. Or you can use a combination of both. Actually have eyebrows that have strokes in there as well. But I want to simplify this one and just see what happens. Nostril a bit better. There's a connection. There we go. To the bottom of the nose that needs to be better connected. That's looking all right. In her hands as well. You will notice that there are some darker spots in-between fingers. So like here in-between these fingers here just kind of shadows that are cast essentially by the the error is in our hands. Some of this is good to indicate just additional small little details. I mean, it's not 100% necessary, but it does help add an extra bit of definition in there. Good. I'm going to start working a bit on. Eyelashes are forgotten. Her eyelashes. Instead of neutral tint and a bit of brown mixed together, may use another smaller brush for the sexually very small brush. I don't know what this one is. It's a brown, neutral tint, quite thick. Can get fairly close to the page and put in a few of these little strokes like this. Now the bottom as well. Do it on the left, hints like this. Little bit like that. Little quick brush strokes to make them border of her eyebrows a bit more irregular. And we'll make it look like these may be some hairs in the rounding. Just one big stroke. Good. Now for this next section, I'm going to be using a flat brush. And I'm going to put in basically the rest of the hair so it really dark, black, neutral tint with brown mixed together here. And I'm going to go straight in here, like that. Cut around the area around this edge here. You can do it on this side as well. So it comes out from this central point up here, like that. There we go. Going all the way down here. Can be tricky. There we go a bit more. The edge of this brush is actually slightly pointed, which makes it really helpful in getting in little strands of hair, such as this. Then coming down in here. Here. Also does a great job in framing her face a bit to get a bit on the left-hand side of her face like this. Like that. Sometimes the Morley regular that you have it, the more natural it looks kinda like this. You can see it's just more flowy and you can even add another one here if you want to help, again, shape or face a bit more. I will add a few little strands using a smaller brush. This smaller brush here. Coming through. These just to create a bit more variation in the hair. And the brushstrokes like that as well. Perhaps a little more darkness underneath the neck two in this region. Join that up a bit and create a sharper edge. That her chin is more visible, sticks out a little bit more. We can soften the Salford TEDx. Just like this, soften that off a bit. But underneath here I'm just going to color that in a bit darker. Add some water on the edges. Fantastic, that does it I think for that section. Now, we'll finish this off by putting in a bit more color down the base. Like this. Let's have a look. What else could we potentially add? Added just a little splash of color around her head. I don't want this to be two, what you call it. I don't want there to be too much of a background, maybe just a quick little abstract splash of color up at the top like that. And see what happens. Like that. I can wet some parts of the paper too. They're just create a bit of an edge there. I can just soften off this edge, put a bit of a warmer color to change it up. Soften that section of bid. In here, maybe a bit, little bit of bluish color as well. But again, just more water, just softening this section up. Worrying too much about the actual form of the background. Just a very soft abstract section like that. Some parts you might feel like you want a soft enough, kind of like this area here. If it looks a bit harder edged, you can of course change it up. Fantastic. Down the base. I will potentially add a bit of color in here. 19. Complexion Seven: Light: I'm going to do the painting for this one now. And looking at the skin tone. Now, there's probably been a bit of editing going on in this photo because it looks a little bit cooler than it should, almost a bit greenish the skin tones. So I'm actually going to be using probably a bit of a combination of yellow and yellow ocher and a little bit of red. But mostly I'm gonna be using yellow ocher in this mixture of skin tones. So I'm just going to put in a generous amount of water in here because we're going to need a fair bit of it mixed up. Bit more red, tiny bit more red. In that section here. What I'm gonna do is basically just go over her entire face. Start from about here. Oops, going to have a part of the eye, but that's okay. Try not to just go over all the way from the top of her head downwards. Now there's probably more of a yellowish bias to skin. I want to put in a bit more yellow in here, tiny bit more yellow but still have enough warmer, I guess pink colors in there but on the left side of the face and trying to get in a little bit more, tiny bit more yellow into this mix and get a nice smooth mix as well too. So here we've got her lips and I'm doing a little cutting round. This is going to have to be done. That's going to have to be done in a moment or just added in. But over the top of all this, I'm just putting in a nice little wash like this and go up a little bit further into a hair if you feel like you want to, it doesn't matter all too much. We just want to get into nice smooth blend because I've done a bit of shading already with the pencil. You find that it already looks slightly darker on that right side of the face. But I will use a bit of wet in wet watercolor technique to also getting some of that. Now, her hands here just going to drop in a bit of color. Just while I'm in this section. Color the whole part of her hands downwards like this. Bring that down here, down to the base. You can see here the same thing as well. That right, right hand just color it all over the top and carried downwards like that. Now in your hands there is actually a little bit of shadow, but I'll get that in lighter. I think at the moment they pressing thing is just some of the shadows on her face. Then I need to imply before this area dries, I'm going to mix up a tiny bit of neutral tint into that previous color there just a little bit of a neutral tint. Shadows here are very soft so we don't want to overdo it. Here's a bit of shadow just coming over on that. I then it goes up into the eyebrow like that. Then we've got more darkness up the top of your head here. Carrying that through. Let's have a look down here to the right side of the top part of the eye here, you see most of the light is actually catching on the top of her. I didn't get a few little droplets there, but we could've just deal with it. We can't dig around there for too long. The risk of this starting to dry off, it's all wet and wet work here. But one chance to do all these shadows, the soft shadows all in one, go bit more. I put a little bit more at the top like that. Hopefully that spreads off a bit underneath the chin, just a bit of color here as well. Directly underneath the chin there. Kind of a shadow cost was that right-hand side. You can see there, just like that. Good. Let's have a look on some of the shadows on the left side of the face. Now these little small line doesn't need to be emphasized. The beaches to soft touch like that. Top bits of her nose. In here. You can see just where I is. There's a bit of shadow underneath there. That's going to also help to shape her nose. Little bit of color in there, a little bit of color underneath the eye there as well. The edge of her lip, There's a bit of color in there too, just a little bit. On the edges of her face. You sometimes notice the slight shadowing areas, but it's no big deal. Moving downwards here. She does have a bit of the neck showing adding a bit of yellow in here, but it is darker. It's fairly dark and an atheist. So there's not an urgency really. To get in too much light or anything in there, just connect that up. Like this. Sexual software. The soft line. What I'm gonna do is just drop in a bit of pink with a bit of white, buff titanium. Here. I'm mixing a bit of that up, softening this up this lip, and adding some color to the lip as well. And because the surrounding area of his skin is still wet, you're going to find that it melts in and creates a soft edge, which is really what we want. I'm just being so careful here that it doesn't move around or too much. In fact, this loop here is really super light. Just remember if this around and blend it all in, you can just make out that they are lips in that section. Great. And as you can see, there's actually a little bit of color at the top of the lip here. On the top of a cupid's bow. Just a bit of this little feathering of color here. Not much. Not true. It's a huge just going to mark them out a bit more accurately. They're actually closer than I've drawn them. Never mind drawing up a little bit underneath here. Because these soft shapes that we're doing now they're going to be the majority of the indication of a nose. I mean, a lot of the sharp is sort of stuff late or before our eyes. That kind of thing. We can put it in a bit of color for our eyes here. Just a bit of darkness in that section like that. This one here too. While we are, while we're at it. Even the eyebrows you might think of just detailing a little bit more by adding in some Witton wit work as well. This paper has already started to dry, so there's not actually a whole lot that we can do in here. The right side still fairly wet though. I will say I can drop in a few dark and B, it's to indicate her her eyebrows. Blend that a bit in with the eye socket as well. Want to keep that beautiful light on that right side of the face. So far, so good. I'm nostrils again is starting to bug me. I want to just define them better. Still wet into wet, like we're doing here. Extra bit of darkness to that right-hand side of the lip. Even under here you can notice it's just that touch a little bit darker in that section. But it's not the end. We can still go into it afterwards in getting some more colors. A little bit more darkness. But I liked this area. I wanted to just keep that. I'm softness there. I don't want it I don't want to overdo it too much, so I'll leave that bit of a face for now. I'm gonna go and start working a bit on her hands and arms. Not really all that much to do here. But again, this softness in here, I can just re-wet. Little trick is just to re-wet the area such as like this. Just a bit of water. Then from this point, you can actually drop in some extra paint. I've got a bit of neutral tint, a little bit of red. Just put in a booth. Bit of an indication of her shadow on the right side of her. Like this, indicating that light source coming from the left. In fact, this arm, this hand here on that right-hand side, it's really quite dark in here because we don't have much light at all in this section. But a little bit of that will be fine with just leaving a bit of, little bit of a lot there for interest. Even this part of a hand does have some darkness in there. Like that. Excellent. It more in there. Just like that. We'd bit of darkness there. The rest of it we can actually carry out and put in by cutting around using the hair, but getting in some darker bits over here in this I am going to start work, work a bit on her hair. But before I do, let's put in some more colors for Skinner, forgotten, of course, that there's a bit more here that we can add in. I'm just adding in a bit of this yellow timing of this yellow ocher mixed in with the red. And you get some of some of her body's still coming through like that, but minimal. Really minimal. Just a little edge like that. The right side of her here, which is actually darker fair bit darker than the rest of her body as well. Because again, right side we're going to have more shadows due to her hair blocking the light. There. We can just put inhibitor it would be to color like that. The rest of it is just hair just hair in there. More color in there. Try to try to even go outside the borders of it when doing skin because I know I can always go over the top of it with some darker paint and fine. Whereas if you go over the top, if you don't put in enough, enough paint, sometimes you get weird edge. I'm going to start off by using couple of brushes, a couple of flat brushes. This is just to get in indications of her hair. So I'm going to zoom out. Let's just have a quick look at what is going on here. I'm going to just start using some neutral tint with some brown. This is a bit of raw umber. Neutral Tintin, raw umber, very dark, almost the dark is that you can get it. It's about 80% paint, maybe 20% water or twenty-five percent water. Very dark paint. Get this all in the first guy. This part of the face should all be dry enough now to form a sharp edge. Let's go in and just drop a bit over. They're not dark enough. I'm going to use a bit more neutral tint in here. I like this kind of round and draw a line here. You will notice also there's a bit of blending with the darkness as well. So in a moment I'm going to try to actually create a bit of a soft edge on the right side there. But we'll see how we go. I just want to make sure I get in the hair main shape of her hair first. Here you see kind of come onto the scene. They're sold the same. It's some parts of it I actually liked. So you find some of the hair just a little bit, but we can actually lift off some paint afterwards. I'm just more interested in being able to get in this large dark shape and he cuts her on a face which makes an interesting shape. Negative shape like that. And you will notice there's even little bits of hair that come out like this, which you can imply like that. Coming off the top like that in the roughness of the paper is such an advantage at times allows you to get in amazing texture. Some of these wet and wet doesn't matter, just let it, let it do its thing. It blends, just let it do it. There we go. Stops. Here. It comes out from this section. I just don't want to leave any of this white stuff in her hair, so I am just trying to feather it in at that point. We can also use a bit of dry brush to do just trying to draw that brush off in getting us a bit of softness, weird touches her head. Just where it touches a hit there. You can see. Of course, this is the bit where it starts to blend. I'm just adding in a bit of water, little bit of water. And I'm hoping this will carry across into this section like that. Distributed water up, but I don't want to overdo it. Really just want to soften that edge. Here. Especially tricky, very, very tricky. Move and use a spray bottle to spray bit of water in that section to help it blend better. Good. Again, it may go back into the hair, doesn't matter. Just continue on. Retouch that people. Carry on as long as there's a softer edge here, I'm happy. Good. Lost a bit of form in this part of her face. I'm going to try to bring it back in some parts. Tricky part because we're trying to just blend and make it look natural. Leave that for now. I'm going to work on that left-hand side more now. Just get in a bit more of this dark black and neutral tint mixed with some burnt sienna coming across, cutting around her face. This is just a very sharp edge here. I'm going to have to be quite careful cutting around this edge like that. Make it a sharp as possible. I'm using almost pure paint. Coming down here. Here. I'm losing a little bit of lots of sort of paint as well. I'm not making it, making sure it's not all completely black and hear different shades really. And this is going to help. Now, of course, this little section here is going to be tricky, which I'll use a little round brush, little round brush and some brand and a bit of these neutral tint to cut around her fingers and stuff. Joel line as well, you see really important to leave those kind of white bits and the lighter bits here in my hands. Bring this down. I'm going to just get in some more bits of her hair like that. Coming down here. Just quite dark section. I like mixing a bit of red in here because technically this do parts of her nick potentially in this section, you do get some things running through it as well, like that. Trying to work with large brushstrokes. That large and deliberate brushstrokes. Here's kind of a hand behind the hair, but even even a hand there, it's a softer edge as well. Here we go a bit more for hair. Coming down. This flat brush does one does it really makes it so much easier because I can just get all these indications of her hair in large brush strokes like this saves so much time. Just as a bit of the top strap. Spray bit in this section. Make it blending with a hand better. A little bit to hear. More softness. Carrying this down further. Round a hand. Just bring this further down to the base. Here. Again, you will find that there are some stray bits of hair which are going off in different directions like here, the base, I can just use this cat's tongue brush, which just creates a bit of, I don't know it, just a bit of variation. A few interesting brushstrokes I thought it would be nice to add to all this mix because you do get a few that just come off in all directions. Even here, you might get a few off in the background like that. It's good to create a bit of inconsistency. Just break that edge a bit so that it looks more natural and good. Okay. I will let this I will let this dry for a bit and come back to it. We'll get in some of the facial features and perhaps a bit of a background. 20. Complexion Seven: Shadows: I'm going to do now is start working a little bit on the facial details, some of the eyes, bit of the lips. Just some finishing touches to bring pretty much everything together. For this, I'm going to be needing pretty dark paint. I'm going to be using neutral tint. Again, neutral tint and a bit of brown mixed together. No other way to do it. Just go to really get into it, just go ahead and give it a go. So I'm using quite a dark paint, but I haven't dried the brush off a little bit on the page on the towel. And I'm just going to get in and little indication of her eyebrows here that it's sort of go over to the right-hand side. I believe that for now, Let's try this left one for seconds. Like this. Because she's a little bit closer. In this portrait. It pays to try to get in some individual eyebrows and more detailed features in year nostrils. I'm just going to go straight in and just cut off a little bit inside like that. More of their eyes. I will start to work on these a bit more. Starting off in the corners of the eyes. Just going to have a look at the reference photo a bit closer. Basically. We're just going to do a bit of an outline on her eyes like this. Like that. Kind of winged off at the end, like slightly winged off. This bit here at the bottom is more running towards that side, the edge like that. Let's try the left one now. Follow the outline of the pencil. Just in the middle of the eye, the center bit there and Destic underneath. Again. To put that sort of weaned bit off at the edge of I like that. They would go underneath the eye. Just darkness under there as well. Again, sort of comes off in curved outwards, almost comes down on an angle, joins up to the edge there like that. A bit of detail in the corners of the lips. Tiny bit of darkness like that. She's taken some teeth and they have not indicated them. Well, I might have to use a bit of gouache later, perhaps to bring them out depends on Phi. Decide to go a bit of darkness like that. Just darken it iss more as well. Like that. Putting a few more eyebrow indications like this, slowly building up the detail. I think over on this side I had a bit of a stray one go off on that on a tangent, but doesn't matter. Just rebuild it, add some more in the kind of like COO of more towards that left side a bit. Actually. Actually just soften this off. I think I've done the eyebrow and little bit more to the right then I should've. But we can easily fix that up by just softening that edge. Like that. All the paint is still wet. Good. Roundabout the right place like there. I'm going to soft enough. I want to soften off with the filbert brush just some of her face on that left-hand side, it looks too harsh. The moment. Just this area here, just a bit of water and Philbrick brush. When he kind of brush really, there we go. And I'm just going to soften off. Parts of this age. Hopefully allow it to blend a bit better. Because at the moment it just looks a bit too much. Sometimes the reference picture, it looks great, but when you actually added on paper, it doesn't work. Watercolors. Because you need to balance out the composition a bit better. Photographs you can get away with, with sharp details like that because it's just so apparent what's there. But in watercolors we're leaving out a lot of detail, which means that often we have to adapt and change things up at times to balance out the composition. This is just a bit of darkness I thought I'd add underneath her neck here. Bit more water and soften that off a bit down. Just basically brings her chin out of this darkness. A bid. Good, good. Part of the cheek looks fine. Just put a bit more. They're a bit more. Indication also often knows the just the edges of the nostrils. You've got another opportunity really to just add in some more shadows in here over the top. So shadows on top of shadows, but I, I'm not gonna do that. I leave it more of a simplified version. Another thing we risk as we get, we may risk getting rid of all this lovely softness in there if we go too much in there. So just being careful, preserve some of that softness. Just softening up this sorted out this area. There's actually very few hard edges here. Very few hard edges. Hands. I mean, we can see that there may be a soft edge that may be necessary here where hands sort of goes into way hair, bit of darkness underneath her fingers on this side as well. Why not? Why not? I haven't gotten a teeth, but I can put in just a little bit of indication of some gray in there. It's almost because it's dark and so they're going to appear to be kind of dull down in there, but that's going to indicate perhaps some teeth. Very, very, very gently. Not so happy with how her eyebrow turned out I've made it should be little bit more. It should be a little bit more towards the left that will have to make do with that. I don't think I can really notice too much anyhow. Putting some more, few more strands for the eyebrows just for good measure. Like that. Round off this section of i little bit edges here a bit rounder, they're not so sharp. Actual effect. Bit more like that. Eyelashes was forgotten about that as you can because it's so dark and here it's tricky to see, but definitely subtle. Definitely subtle, just sort of coming out little in areas like this. Putting a few. But even in the reference photo, it's not so apparent is not too obvious. And put a few coming out the bottom like this. Quick little indications. Good. Sharpening up more areas or in the mouth underneath the chin mole. So you've got this notching with neither leap. Here's a bit of darkness here. Carries over to the right-hand side. So that bit of darkness, I'll just soften off. Like that. Here should be the software as well. Where it hits the lip. There should be some more darkness on the right side and that leap almost a sharp edge, but not really. It's slightly bit of red in there and it's just dropping a bit extra color. Some the lines and bits and pieces for the details of lib. Normally I didn't really put these in also often. You can also lift off a bit of color for highlight here. Part of that lip is lighter there. So I can just add in that water, introduce a bit of water and lift off. You can do that pretty much for any part of this scene. Soften the nostrils a bit dark and I on the right-hand side a little more that have a focal i1 That's a bit lighter, one that's a bit darker. Just having a look, what else needs to happen and I think we're almost finished. I'm just softening off. Shadow went on a hand here. Like that. It's still want there to be light in there, but at the same time I want some softness to it. It's just too harsh. Some of these edges kind of similar to what happened here in the face, just too hard the edges. I'll add in a bit of background and maybe go back into the face in a second. I need a break from it. In the background, I'm going to add just a really basic mix of I think I'll go, I'll think I'll go with a little bit of purple. But I'll dial it down by adding in a few other colors as well. Whenever it's just left here on the palette. Let's just drop that in a bit. Over the top of the hair and that sort of section. I want it to be lighter near her head because it's very dark. Having a lot of background is going to help to draw out some extra contrast. Of course, as we move down, we can change it to make it a little bit darker. Even in some areas we can make it a bit darker as well. I just don't want there to be too much vibrancy in here. That's why I'm mixing up whatever is left on the palette to create more dull down. I guess tone that runs through here. We go. Move this down. Don't be afraid of connecting it onto the hair and the body as well. Down the basis is where you want to add perhaps a bit more color. Picking up whatever remaining on the pallet. Use the very last bits of paint to create this sort of darker color like that, cutting around his shoulder. In fact, this area of the shoulder is quite dark as well. We're going to have to connect up going to have to connect up this area of the shoulder with a bit of darkness in this. So just get a bit of the same paint. Go over the top of that quickly like that. I mean, you might get a bit of light coming through, but for the most part, it's all just quite dark in there. Fantastic. Would a bit here as well. Look at the reference. I mean, she does have some lighter, I guess, some dark bits in here, but it's not apparent. I mean, I can just add in a bit like that to create a bit more balance. Here, look at that. There isn't even appear that we can further bring down. Next section. Let me just grab some of this color, just drop it in like that. Down that last bit at the base. Great. What I'll do is to finish it off, I want to add in just some more bits of her hair, some little strands of her hair running down. Why using a smaller brush? Maybe a flat brush. Let me have a look. Us use a flat brush but with the kind of angled edge. This one here. What I can do is just pick up, again really, really dark paint. It's dark as you can get it. I'm just trying to make some bit of almost like it's purple plus a bit of brown. I want to get it really almost as dark as I can. Put in a few final strands of hair. Now, in the reference, you see again that it's not all, it's not all the same color. By doing this, you can bring in a little bit of extra dimension to the hair. But I don't want to overdo it as well. So keep it keeps some of the dry brush strokes like what I'm doing here. Beautiful dry brushstroke and areas. If we look at the top of the hair, perhaps there's a bit of extra darkness in some parts like here. I can just emphasize that a bit more there, for example, soften off. I don't want to overdo it like that. Just some of these dry brush stuff here where we've lost a bit of contrast on her face. Just here where it's kind of being blending in a bit. I can go in and add in a few more brushstrokes over the top of this area, create a kind of a broken edge. In some areas you can still see part of her face and you still get part of that shadow as well before I will try to get in. But this is good because it allows you to get in a bit of this I guess a bit of the volume of the hair and the structure of it a bit better. Rather than it being one big shape. Go to a few areas that even underneath the chin here you see that it's actually quite dark in there. Then that just turns into another strand of hair or something coming down in here. Let's just keeping it interesting. Some parts, some hairs, maybe lighter, somebody who's maybe darker. Just have to use your imagination and it'd be a bit of artistic freedom to try to get in some of this stuff. You don't even hear. It's still wet in the background. So if some of these you can see it kind of goes off into the background, trails off when I try to add some color up this, that's okay too. Some softness inhaler looks fantastic. And even the shoulder, perhaps a bit of bit more darkness in that edge of the shoulder here like that. To further emphasize the dark pot soften. Again, just soften little strands of hair that just come through. They really make a difference. Had a bit more character and volume to the hair. So another option is you can lift off paint to create that little highlighted piece of hair and lots of options. I'll leave this as it is. And I'll call this done. 21. Complexion Eight: Gridding: We're gonna go through and let's get in some of the details. And I'm not gonna really aim for too much accuracy here and more sort of wanting, getting the essence of this character. This meant. Let's go ahead and I'll firstly just describe what I'm doing. I have a four by five grid. Basically. It's got four columns and five rows which I've just divided up. It's just going to make it a lot easier to draw in the subject. And I'm just going to go in really, really quickly. And getting the edge of the hair here and go around. It goes around the top of the screen, somewhere around here to the right-hand side as well. Some hairs coming out the side, they're coming down here, comes down here. Always look at where sort of intersects the grid. That's almost a third of the way through this bits of hair just coming off the edge. Wherever you, their forehead starts about here. It comes in like that. You can actually see part of his hair just send I come across his forehead like that. Some of it just goes up. A lot of shadow on the left side of his face. Light sources coming from that right-hand side. Coming through here like that. It's forming the side of his eyes. Down here on the side of the head and there's an ear I think over here as well. I'm just coming in underneath like that. It's barely visible. Line here which forms the side of his face cotton bud that will help me sort of smudge and do some real basic shading punches of his beard. It's coming out here. See, I'm just trying to get into some basic outlines. His beard, but here is pretty much just the side of his cheekbone. And I kind of started about here in sped the edges and dips down a bit more than just really a quick indication. I'm not trying to put in everything just yet. He ran about actually the middle here. Live that his eyes. There's some eye socket here as well. It's quite deep set that you can see these eye sockets. So I'm going to exaggerate that atom little bit. Also his nose you can see comes down and fair bit all the way down to here. But I'm going to just keep working a little bit on his eyes, detailed and a little bit more. The cotton bud is great as you can see, just allows me to get in these little bits of shadow and would have you, even with the little detailing here for his eyebrows, which do help does help. Getting a kind of expression on his face, the eyebrows arching upwards like that. Then you've got of course, a lot of these lines and wrinkles. When his head. Quite an interesting portrait, which is why I pick this one. And we go ahead and just getting a few more of these wrinkles coming across his head. There. 123. It's not a huge deal. We just want to a quick indication like that. A lot of this stuff, again, it can be refined a bit later with more detailing. But you want to have a good enough impression for the actual watercolors later so that you know where to go. Get lost halfway, and start wondering where you're up to. Thinking perhaps the eyes are too big or placed in the wrong area, that kind of thing. So I do find that this taking the time to do this really helps. It really makes a difference. Little bit of detailing for the eyes. Again, it's not a whole lot. I'm trying to imply here. Just a little bit of the lights and the doc running through there. The edges of his, ours as well. But remember that we do want to leave a good proportion of this for the water colors as well. I saw could actually comes all the way in. This one as well, coming down the nose. One of them is known as roundabout here. About a quarter of the way through like that. Straight off at points points straight down like that. Part of his nose comes out to the side of his iris. But you can see the nostril just sort of stick out a bit like that. It's very subtle, something like that. The right-hand side, it's a little bit more tricky to save because we've got an area which is mostly light. Good, good, good. Bring that in a bit more like this. Coming like that. And I'll just do some shading with this cotton bud. I'm trying not to spend too much time on this as well. Yeah. Just getting best of an indication as I can notice, there's all types of wrinkles and marks on his face. While you can indicate every little thing here and there, I do find if you wait into later and you try to get it in with the watercolors, you will save yourself some time with that. Now the outline of his beard as well, it's probably going to do is just what I'm doing here. Just put the general outline of where it starts and ends here. And then later we can use some gouache, a bit of watercolor paint to get in the rest of the details. He's got an ear that comes in here are actually helps out the side like that. And he's hair just covers most of his ear. That very interesting. And portrait just filled with so much character makes you really question, Who is he? What's his story? Where's he from? And what does he kind of seeing? What has he gone through in his life? I tend to pick, when I do not all portraits, but some portraits, I tend to pick some of these types of these top of individuals which made me be curious and perhaps allow me to build a bit of a picture or telling myself a bit of a story or guess what has led them to that point or where they come from. So often it's the eyes I think that kind of intrigued me. Again. His mouth isn't, it's kind of just all the way and he can barely see it. It's just covered. His beard. And again, mouth. You can see a bit of his lip in here. It's barely visible, but it's a little bit just sticking out in there within all the details of his beard. It remember, we're not trying to draw an older bead. We're just trying to get in the blue outline of weird starts and finishes, something like this. Okay. Fantastic. We're almost there. We're gonna go and get in this side of his jacket or whatever that he's wearing. That kinda comes down like that. There's another beat that sort of comes down here. Here. Here. Maybe a bit of a code or something. So he's got a bit of this here in this May I'm not sure what these are. They they look almost like sunglasses or something near the bottom of his. They almost look like sunglasses and there but I were there. I actually draw them, you know, just skip over the details later That's to be decided. But the details of the face, I think for a general thing is as good, a good starting point. 22. Complexion Eight: Light: And start mixing together. Yellow ocher. Think this will be good to start off just a bit of yellow, tiny bit of red, which basically just forms a pinkish color straight into his face. It's more on the yellow side. Great thing about this portrait is that because the texture is on his face, fairly uneven in a little bit more sort of rough. I can get away with not having too many soft edges in here. I'm just going ahead and putting in his ear here as well, just on the side. At this point, we just want to get in real basic, really basic sort of wash on top of the skin. Flesh tones we have here. I tend to leave the eye out as well. Like this. Do that later in with some additional detailing and colors. More yellow. Just to be more warm from the right side of his face. He's missing a bit of that. I'm just dropping that in, looking at that in just a bit of Hansa yellow. And that's really broaden that area up significantly already. And I'll come down again and I'll drop in some more of these sort of reddish paint news lip here. Okay, it's not a 100% defined. That soften that edge with this brush over here. Something that off, soften here. Always good if you have a tissue as well around this will help for these sections. More red on that left side of his face, just bringing that all the way down. Just want to indicate more of the yellow on the left or right side of his face. Fourier's be here, down the bottom. There's not a whole lot I want to put in here other than just basically a little bit of this titanium white in some areas. But a lot of this stuff. What if it here actually, we can just pretty much leave it white. But this creates some textured areas. So it's not just completely white, but it's a little little messy in here. Maybe even like a little grayish in areas as well because it's not I mean, he's business completely white, but I want to just get in some of those colors and making sure that it blends a little bit into his face. Like this. Even at the base here. Soften that up a little bit like that. Leave a little bit of white on there as well. That's going to indicate some of the light. I'm just going to go into his hair and pick up some brown over here, which is basically some GI thought. Some GFR white paint which are mixing with a bit of purple to try to darken that down a bit more. I'm sure I've got a bit of this burnt sienna. Let me just mix that up. Neutral tint and dial that down some more. Okay, good. I'm just trying to get it to blend a little width his basically a little bit with his skin. You'll notice just a lot of these messy brushstrokes. He doesn't have lighter portions of his hair, which are there because of the highlights cost by the sun on that right-hand side. So if you notice there, I've just added in a teeny bit of darkness. For that reason. Teeny bit of light, I mean, on the right-hand side. But I'm trying to get in some of the darks on his face and his hair when to wet while I can. But having just a little bit of that yellow running through the top of his head. It's going to look fantastic and get that brush dancing around a little bit. Try to indicate some of these bits of hair coming up over there and he actually come down towards his face here. And it says, forgotten to get in his ear here, which is actually a more of a pink color, but it disappears a little bit in there. Kind of in there. So far this is looking okay. Really liking this paper. It's smooth paper that I've gotten really surprised right now at the drawing Tom if thesis taking, giving me just that slightly bit of extra time to drop in some more wet and wet details. Normally when I use completely hot pressed hot press paper dries most instantaneously, except for the Saunders Waterford paper. I'm really liking this. You can even put in some of the wrinkles and stuff when his forehead here as well. If you get a chance to just drop in, you can see this detailing on his forehead. Some of these has already dried that previous wash, which is why I'm able to go back in there and getting a sharper edge here. But you want this sort of line, a bit of line work here on his head where you've got some hair. You can see it just cutting across his forehead. And then going further down, joining up into the details of his actual head. Different darker tones in his hair as well. Even up at the top. Many different tones in for hair. And certainly no difference for this character here. Getting some color for his eyes. And can I just put in a light for light wash of Brown actually gone into the bottom of his MS, I will just pick up another another round brush. Round brush here. Brown. Light wash of Brown and his eyes. Got another smooth round brush. Number four, round. Before round. This is not to detail, it's just to put in a base color for his eyes because we're going to darken it light up. Having multiple layers is going to make it look better. What we can start doing now is just work on the detailing of his face and especially the shadows. Going to play quite a crucial part in this, in this portrait. We do notice this some shadows just coming over forming on the left side of his face. I'm tempted to bring out my springboard to perhaps getting a bit of water in there, introduce some water back into that mix and re-wetting the entire thing again. I'm just going to pick up a little bit of neutral tint mixed with some of that warmth. There we go. Just drop that in like this. Remember this mix has to be darker. Has to be darker than the actual, thicker than the actual mix that's on the page already. Remember to leave a bit of color on his cheek, a bit of light on his cheek like that. Sometimes you're going to wait for it to dry just a little bit more so you can get sharp of a very, very slightly sharp edge on there. See somebody's wrinkles through as well. But all I wanted to just make sure I have some kind of indication of that shadow on his face. That's pretty crucial. This portrait that left-hand side there, but here in his eye, on top of his eye years old underneath there. That again just detailing some of these wrinkles moving that across. Perhaps some small indications of his hair going up like that. Let's have a look. Some more darkness here. Top of his eye, underneath the eyebrow. Like that. More on the left side of his head again, perhaps somebody needs some parts here as well. Just really trying to find some little areas that I can draw out extra details. Also indicate part of his beauty as well. We can just stop putting in a few little marks and things near this area. I do like the fact that his shirt is kind of obscuring and mixing with part of his mouth and the beads. So I'm going to just dial that down with some neutral teams. A bit of this year is just a little bit of ultramarine when I'm mixing up with whatever is leftover on the palette. And I can just cut around his ear a little bit like this. And of course we've got another chance to change this around later if we want, but Carrying that down, I'm going to just cut around this area of his beard. I do once and I hope for there to be some wet in wet software bits in here as well. Here started joining on to his face. So it's not all just a sharp edge wherever the top of everything and have very kind of harsh looking. Actually joins in with his hair and little bit here on that side you can see that it just connects up like this. Here. There we go. Better, that connection on there. I'm going to bring this blue down and a bit of the neutral tint and the blue mixed that down further. Guys actually quite dark in here. But one thing I like doing is just leaving some little bits of white here and there just to indicate perhaps the folds and his jacket, that kind of thing. And you notice also it gets pretty dark down the bottom here as well. I'm almost picking up pure neutral tint. At this point. Mix it in with some purple to get some juicy sort of darker colors running through and highest level of darkness really in that corner. A bit more of this color here, here, green that across, that bit lighter on that right-hand side. So we don't need to worry too much about that. I'm just going to go into that background and a touch and start putting in some blue in the background. This is some cerulean blue. Might seem early, but I want to make sure that it blends a little bit into his clothing. With that setup, I may have to go through and do the clothing just one more time as well afterwards. Depending on a depending on if it's dark enough, if it speaks up, sticks out and after the background, see how we go. But I do want to do want to get a nice background granulating sort of background moving through like that. Fantastic. So I think we've got a decent wash, decent sort of first wall shear. From here on. I'm gonna be picking up basically smaller round brush. This is number four round brush. I do also have a number six round brush to really go through and start detailing some additional areas on his face and wrinkles or that kind of that kind of stuff. Mainly just neutral tint here in the corner, maybe a bit of brown in there as well. Just to warm it up a little. You notice actually a lot of this is still somewhat wet. There's still a little bit of witnessing here, so I'm going to just use this brush the kids some of his eyebrows, he had just indicate little bit of that. Remember, also there's some of these eyebrows here are white, which means that we're going to have to use some quash later on. Or alternatively, you can lift out some paint, but I do recommend you probably use the gouache. It's just gonna be a lot easier for you if you do it that way. Here on the edge you can lift out a bit of paint, indicate a bit of light near the eye. Bit more paint there. We adjust, trying at this stage to add on details. It's layering and it's being patient. This is the stage where you just have to be patient and just layer and layer. Rather than the hope, have faith that it will turn into something. Because now that that first layer is dried, you find that you can then see there are areas that you might want to add in additional dark, darkness. For the hair, I've got here a this is a fan brush. I'm just adding in some of that for his hair because the background is still wet. You can already see that it kind of melts units some points and that's what I want. I want it to be a want the background to sort of connect with this, with this person. The subject, be part of a whole. What we're doing here is we're creating contrast. Adding darkness, essentially because we've added in all the light already. But we're adding in darkness, which is going to create a little bit of contrast in detail. Indicate the light. What is going on. Let's have a look at his somebody's facial details and also some of his beard. Just going to pick up a bit of grayish colored paint. I'm going to go ahead and get into a few textures. And Marx, he refers be it the solder that brush as well. Like this helps to get in a little bit of color there. We've got a very sharp edge here. You can soften edges like that, soften part of that. Also gonna filbert brush. Filbert brushes are great for softening these edges. So I can just do this. Something a bit of this one here. I don't want to do it everywhere, but in some places like that, to help join, of course, some more textures. So again, we just want to imply where does start kind of just underneath his nose. Really say, what if it's more of a white, grayish color? Again, that can be done. A lot of that can be done later when we go in. The highlights can be done later with a bit of gouache. What I'm trying to do here is get in the darkness and his beard because it's not look very closely. There's not just white. And if you keep it wide, you're going to miss out and all that detail and complexity in this. It's really up to you how much you play around in this section. But be careful because it can be easy to overdo it, then you will lose that contrast. Let me just have a little look now and find some areas that I can just draw at further. So underneath his nose like their cheek, side of his cheek here. Here a bit of this nose. Nostril going up towards the left there. It a darkness running down his nose like this is a sharp shadow here. Very sharp shadows. So I'm going to try to get some of that in. While I soften this edge a bit, allow that paint to run to the left. Let this shadow dry on his, on his nose like that so that there's a bit of a sharp, a shutter. There's even a bit here on the center. This kind of sense of bridge of his nose is running up here. Connects onto another wrinkle. Here. 23. Complexion Eight: Dark: It will also start outlining some edges of his eyes. I'm picking up some neutral tint. Drawing off that brush a bit. We'll go in. And firstly, I'm just going to outline the edges of his eyes here, the dark ring around his eyes and then the pupil here. Fairly small. The corners of his eyes here. Now with eyelashes, with men's eyelashes, generally speaking, you don't need to really put them in to obviously in fact, I tend to skip them a lot of the time. The bottom of the eye in that age of the eye. Some of the lines around his eyes. So this sort of line that runs down that side comes down here. Then these larger beat up the top like this forms like reach underneath is underneath his eyebrow. They're really apart from that. It's all just quite dark in that section. They're just going to add another dark. Darkness in that section. Soften this edge. Perhaps let that dry a bit, another bit of color underneath his eye, they're dark and that bit more on the left-hand side, that left eye. This here. The pupil that's kind of looking a bit over to the left. We can just outlining the edges of his eyes are a little bit. Once it starts looking alright, I tend to stop, especially when I'm working a bit faster like this. Slight bit of light over the top of his eyes, whereas eyelid is there, but it's mostly quite recessed with his either quite racist in there. So it's hard to see exactly where his eyelids but that's looking okay. The areas of darkness, the nostrils. So over here maybe underneath this part of his nose, left side here as well. So I can just dabbing a bit of that dark paint, leave it, just have a look and see if it's if it makes sense or not. Then look and I think is what was the shadows on the left side of his face? Are they dark? And at the moment I'm thinking definitely not. They need to be significantly darker going here. And again, just connect this up a bit. Shadow. So okay to have some sharp lines running through some of these shadows like for his wrinkles and stuff like that. But is cheekbone here probably could do with a little red red in there that connect that up. Put that blue in there. His beard is pretty much just coming out from underneath the section like that. Even the light here is certainly a lot more subdued. I can soften in some sections like this, but I'm trying also makes sure that the nose, I lose the nose in there, which I am most certainly I am getting there. It's just taking a bit of time. Here's some wrinkles. Let's put in a few more coming down that right-hand side of his eye and the corners of his eyes as well. You can see a few just coming out the side their grades. Eyebrows again, a lot of them are just going to, we can just do them in what? Iran, it's a bit tricky at the moment to doom because there's still quite a lot going to bring a bit of this down so that we have some doc, more darkness and he's in his beard. And more importantly, there's kind of a aerobe is Matthew that we need to get in opening those math here just by putting the lips a little earlier. Running down. He had just little opening for his mouth is not much to put in there. Just a little opening like that. Few bits and pieces of hair and the bead coming out the bottom like this. This layering technique. It doesn't look like when, when you start doing it. Sometimes it just looks terrible. It doesn't look like anything at all. Especially when it hasn't dried yet. You're almost tempted to give up on stage, but you have to layer it a few times. When it dries. You can actually fix up bits and pieces that you, you may not have liked. The way that it dried earlier. And more in takes a few layers before, before you can start seeing the face and details emerge from all this. You just got to be patient. There's no other way around it. You just got to be patient and persist with it. I have faith with a bit more time. And it will come through. Something will show through. Again. This is just a few darker strokes of these, be it coming through here. And I'm hoping if you hold the brush near the end as well, you can get a few stray marks. If you have a board as well. This is what I do. This little bit of tissue does help. Great deal. Here we go. I'll put in a bit of his detailing on his jacket while I'm at it. Darker in Nicaea, very, very dark in that left-hand side. Again, is difficult with watercolors. You got to, you really got to persist. And once things dry, you realize it's not actually, not actually the level with the tonal value that I want. You gotta go back into it again and again for the dark in it. Sometimes you get it the first go, sometimes you don't soften that edge, but absolute bit into his hair as well, a bit of brown and mixed into this neutral tint. Round in the neutral tint. That just some more darkness into the hair because I know I miss them out. Using that round brush is getting some little squiggly marks running out. Some of them going a bit further than others. That kind of brown and neutral tint that I'm using here. Remembering to leave some of that previous wash as well. We don't want it to get rid of all that color from before. He starts very close to his eyes. Slowly but surely things believe starting to emerge. Get closer to his head and start to feather some of his hair around. What am I doing this because it will create a little bit more softness near his forehead. Well, that doesn't look all. Just a sharp edge. Everything starts. His hair starts. Continuing to work with this, insisting on you feel like there's too much a bit too much yellow on his too much contrast of yellow on these face, right-hand side. I'll put in a bit of putting a bit of this color. I don't know what it is. It's just a bit of gray mixed in with mixed in with a bit of red in a tiny bit of yellow ocher. You just want to double down that yellow a little bit. It looks much too harsh. But if we leave some mean, perhaps it might look nice. Just to top of effect. I'm going to just continue to darken in some areas, add some more wrinkles, everything like that. This over here, for example, this just a little bit more thought. I could just indicate more down the face using the edge of that brush like this as well. Couple of lines running across that right-hand side of his eye a little bit down here as well underneath underneath his left eye. Those few others wrinkles around his eye over there as well. Just start to outline some of these wrinkles on his head a bit more to this. I'm gonna move across to the sides of his head. These ones just don't seem to be indicated enough. So I'm going to go ahead and color these in a little more like this. Come down, of course, this one comes right down through the center of his head, down into his nose. Even their bids coming over here, over here to the edge of his head there, indicating his eyebrow, region there. Like that. These are all sharp edges, really sharp edges going around. Which are going to just indicate some basic, some basic. Here's a darkness, new bit of white gouache. And this is turning into a grayish color, which I like that we can just gain some bits of detail for his beard. And again, I'm just using little white gouache and then little little round brush, which I've dried off a bit here. I can just getting a few bits of hair coming off his face. Left-hand side. This is going to flatten out a bit, so it's not going to look as strong as it does now. Just putting in a few more further down as well, let me just few more here and that be down a little more. Like it should be a little bit longer. I can get some really white gouache as well. I can get some stronger highlights. I think this would be best here, and I can now work a bit on the mustache. Who joins down bit by bit. Few, little, few little bits and pieces here. Going over his mouth and coming out from underneath the chin as well. The bottom of his mouth here. This is the easiest way to do it. I find just some. A little bit of gouache here and there. Just a hint of light in his eye in the corner there for a second. I also need to add some little bit more color to his eye. Both of his eyes, I think I might go with a team bit of green. Green, dark and it around darkness was pupil here. I lost some of that before when I went through with the wash. Kind of disappeared. Good detail in his shirt or what have you running down like that? It's really just endless, endless details that you can continue adding. I think I've got the gist of everything I want in here. But again, if you do have some time, have a bit of a play around with some brushes like this one. He instead kind of novelty brushy fan brush, get a bit of few brush strokes. And you can really get in quite a few indications of his beard, actually by simply repeating these brushstrokes a bit. No thing is his eyebrows then some of them need to be lighter. Just going to put a few in view, sort of lighter eyebrows in here, running through like that. And here as well. We speak we speak sort of looking eyebrows. I think I'll call that one finished. 24. 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 shown in this class and try to paint each portrait demonstrated by following along with the demonstration. Try to spend as much time as possible in the drawing until you're happy with how it looks. If you're feeling adventurous, have that changing some of the facial features were trying some different color combinations. If you've completed the portraits featured in this class, find the reference photograph of a person who you'd like to paint. Consider trying to paint a family member or 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 over to your sketchbook or watercolor paper and paint with watercolor.