Colored pencils on the skin of the face. How to draw a person's face

How to color your hair with markers

Step 1

First, take your sketch ready and clean. When using markers, make sure you use ink that won't smudge with water!! You don't want your markers to cause the ink to run and ruin all your work. You also don't want your marker strokes to get "ruined" by the ink on them. For this tutorial I'm going to use copic markers, I find they are the easiest to use as they have a brush tip which allows for soft blending of colors. However, any markers will do, whatever you feel comfortable working with. When working with copics, always test them on paper to make sure they don't bleed too much. Make sure you have natural white light in your work area as yellow light can distort colors! Anyway, let's start the lesson!

Step 2

Here, I chose the first color (Copic color: Water BG15) and painted in the direction of the arrows. I usually start at the roots and edges. To get the highlights on the right side of her hair, I drag the marker down, stop and you can see it leaves a jagged edge, then start at the bottom and work my way up to get a nice highlight line. It may take a little practice, but once you get to know your copic, it will get easier and easier each time. I also left the highlight in the middle of the curls to show that they have volume.

Step 3

I applied a slightly darker shade (Copic color: Teal Blue B18) and this shade will cover part of the first color, the painting process is the same as step above, just make sure to leave the base color, especially in the highlight area. You will see the shading appear!

Step 4

Until next time!

Original: http://www.mangarevolution.com/tutorial_di...?tutorial_id=72

How to color eyes with markers

Step 1

There are many tutorials on how to draw eyes, but few on how to color them. So I decided to show you how to color different eyes with markers. However, you can use a similar technique for digital painting as well ^ _ ^
The first eye, here, is a fairly ordinary eye shape, and I decided to paint it with golden shades. First I used the base color, pale yellow, for the iris. Then I wedge in a shade of darker yellow and begin to get the shape. Then I use yellow ochre, and finally sepia brown to show off the shape more. TIP: If something happens and you accidentally run over the edges, you can always use a small brush and some white acrylic paint to fix it! Also, you can add more sparkles to the eyes by using white acrylic paint to make them more sparkling! I usually fix my painting after I've completely finished it.

Step 2

Evil eyes. Unfortunately my scanner doesn't pick up red, so bear with it. First make a layer of bright yellow, you will see this at the base of the eye and it will make the eye appear to be on fire. Then do a layer of light orange, and here I started putting in a darker orange shade. After this, blend the dark orange towards the top of the eye with some red. Finally, using gray, shade up to the top of the eye. Gray is your choice whether you want a bright red or a darker, more sinister look with gray.

Step 3

Quite realistic. First make a layer of pale blue. Then use dark blue or water color and use it to define the shape of the pupil. Now time for the sexy part! Shade the base of the iris with a darker blue color. This trick gives the eye a sense of depth - a great idea for you to use. Finally, I made another layer darker, and added small lines in the iris to achieve a sense of reality! By playing with this you can get many different effects in the same style.

Step 4

Big eye! Okay, this eye style is very different from the others, in this one the majority of the eye is dark and there is only a small speck of color at the base. I first started with caramel brown, then took a dark sepia color and decided on the shape. I didn't leave too much caramel brown. Then I slowly, hierarchically paint with brown colors, and finally finish with dark gray or black at the top. I really love these eyes, I think they are cute but kind of mysterious, they have a lot of depth.

Step 5

Now, with the skills you have, you can draw any eye, and you can also apply this tutorial to gems and jewelry! It's very effective! Just leave a white rim around one edge of the gemstone for a realistic and sunny look!

Until next time!

Original: http://www.mangarevolution.com/tutorial_di...?tutorial_id=71

How to draw skin with markers

Step 1

In this tutorial I decided not to use copic markers for the skin, so you can see that even cheap markers can get the job done. First of all, get a sketch ready for coloring. Remember, use waterproof ink for tracing! Now make a flat layer of the base skin tone, just leave white areas along some of the lines and some areas on the face.

Step 2

Then, with the same color, make a second layer in the shadow area, under the eyes, under some of the hair and edges, under the chin and on her hand. I know these steps are a little unsympathetic, but we will add details ^ _ ^

Step 3

This is where the fun comes in! adding blush! Using a pinkish/wonderful color, start painting her cheeks and other areas. This gives her a little personality, and more depth to the character. You can also add it to your lips! Don't use too much of this color.

Step 4

In the final step, just add some gray, here I added on her back, under her chin and under her hair to give depth to the painting. I also made her lips a little redder and that's how you drew it! Not as difficult as it first seems eh? If you think you've painted over too much white, or you want to add a little sparkle after, use a brush and white acrylic paint!

Original: http://www.mangarevolution.com/tutorial_di...?tutorial_id=73

To get started, buy a large sheet of watercolor paper. The paper will obviously suffer from your manipulations, so you need thick watercolor paper that is minimally susceptible to deformation. Turn the sheet over to the reverse side - it is smoother. If you are painting a portrait, the smoother side has the ideal texture to imitate human skin.

Besides paper, you will need the cheapest mechanical pencils, these can be bought at any store around the corner (like the ones in the photo below).

I use 0.7 mm thick leads, as well as 4H, HB (#2) pencils and a kneader to remove graphite particles. These tools provide complete control over the drawing process.

Photorealism emerged from pop art in the 1960s as a reaction to the dominance of photography in the media and abstract expressionism in painting. I liked both realistic and abstract things, I don’t see the point in comparing them. At a certain level of skill, anything can be cool. However, realism is particularly good at one aspect - it reaches a wide audience with one clear message: naturalness is beautiful. In photography, even the most tragic subject can be breathtakingly beautiful. Sometimes in pictorial photorealism it is possible to achieve a similar effect, but with the help of additional efforts on the part of the author. With this in mind, always strive for tension and open conflict. In life you shouldn’t let loose, but in art – the flag is in your hands, throw out everything that has accumulated! As a result, you can capture something elusive or outdo yourself.

Let's get started.

The human face is one of the most difficult objects to reproduce accurately. It takes years of practice to develop the skills necessary to accurately convey the proportions and subtle features that indicate a drawing's resemblance to the subject. Even if you don't specialize in portraits, you can still use these techniques to depict other subjects. An element of a mechanism or a tree trunk, a still life, anything can become an object of reproduction and admiration. If you feel like you have artistic talent, you might enjoy this simple right-brain exercise. Take a photo and flip it over. Now try drawing. You may be amazed at how cool you are doing! But an artist does not have to be “right-brained.” And left-handed too, I myself am right-handed

Ideally, you'll want to base your image on a very high-resolution, detailed photograph with clear contrasts. If you have a graphics editor installed, such as Adobe PhotoShop, specifically increase the contrast settings so that all the details are visible. Use the zoom function to magnify even the smallest details. Being able to see a detail of a face increases your chances of capturing it realistically.

The first stage is the most difficult. You need to place a three-dimensional object in two-dimensional space. My example is even more difficult, because the head is turned three quarters, so look at the object with maximum attention.

Use an HB pencil (#2) to sketch a few lines to create the illusion of volume. Draw, erase, draw again and erase again. Watercolor paper will tolerate a lot. It's important to allow yourself to make a lot of mistakes so that you can see progress over time. If you look at the sketches of the Renaissance masters, you will see many lines that speak of the great struggle in the development of the drawing.

Remember, this is not an academic drawing! You will have to disregard all artistic notions of creative method. Instead of organically building a composition, photorealism will require mechanical elaboration from you. But for now, the first stage of drawing will bring you as close as possible to a harmonious painting technique. At first, your style will be similar to a gestural sketch - lots of light movements until forms of chaotic lines appear. Use this stage to release your emotions.

After completing the formation of the facial contour, the portrait itself is completed. Frame it and invite your friends to appreciate the design and linearity of the composition. Your creation will not look like a black sheep in a museum, for example, among the works of the Swiss graphic artist Albert Giacometti. Enjoy your creation to your heart's content, look at the lines, some of which may seem completely random.

Hey guys, this is actually a photorealism tutorial! It's time to look closely at the close-up image of the right eye (see below).

As I said before, art is a discipline of attention. The most important thing for the rest of the drawing will be observation. To make it even easier – look, look, observe, note interesting shapes. The more interesting they seem, the more you will want to convey them so that others can see them. It probably sounds stupid, but the highest joy from painting can be expressed in falling in love with the form. Forms arise from positive and negative spaces. Small details, like hidden treasures that you search and find, drawing circles around you, as if in a web of letter puzzles. The picture shows that I started with a rare find - a rectangle and a pair of lines in the iris of the eye. And I also started using a mechanical pencil for the darker lines.

Make a few cross strokes to create the eyebrow (see below). I pointed a bright lamp at the drawing so that you could see the direction of the lines and the glare from it.

Try to work with graphite in only one area of ​​the sheet, slowly moving to others, without erasing your previous efforts with your hand or wrist.

Now let’s all listen carefully! Now there will be magic. Take a 4H hardness pencil and draw several lines with strong pressure. You need to seriously make indentations in the paper with a stylus. These will help create lighter areas where the graphite from the mechanical rod cannot penetrate. The effect is similar to negative space in fingerprints.

Let's move on to the technique that you will use most as you work on this drawing. With a slightly worn lead of a mechanical pencil (use a rough), or rather the most erased side, begin shading in the shape of tiny ovals. The ovals should overlap each other gradually so that the shading goes from light to dark, as if you were developing a photograph in a dark room. Slowly, slowly, be patient. Use paper fiber to imitate the texture of leather. See for yourself when you achieve the desired technique and maximum use of the paper relief when shading.

Let's return to the search for forms. I brought my eye closer and found something interesting - the reflection of light and objects. They will help me shade the eye, just like in coloring books, when I need to fill previously outlined blocks with colors. Who else says you need to grow up?!

So... add eyelashes with careful strokes using a mechanical pencil. Of course, you will want to put pressure on the pencil, but be careful, it may accidentally move; you will remove the color, but the mark will not cope with the marks on the paper.

Using a mechanical pencil for the dark areas and HB for the highlights, shade the remaining area of ​​the eye (see below).

Prepare the lower eyelid by dripping a little with an HB pencil. The effect will be the same as with fingerprints, where the color does not penetrate into the depressions on the paper. And there are fewer folds on the lower eyelid than on the upper.

Darken the lower eyelid with a mechanical pencil (over the indentations of the HB pencil). Continue darkening your eyes. Very carefully, so as not to smudge the drawing, shade the forehead with the same tiny ovals.

Increase the darkness as you approach the side of the face (see below).

Darken the forehead area above the left eye by combining shading with a 4H pencil (light pressure) with an oval technique using a mechanical pencil.

The girl wears a hat, which creates an additional shadow on her forehead. Take your time, make a smooth transition from dark to light by shading. I am right-handed and will make strokes in the direction from the upper left to the lower right corner. Left-handers perform shading from the upper right to the lower left corner.

The lamp is positioned to my left so my hand doesn't create a shadow on the area I'm working on. In this photo the light is different, but only for shooting.

And although the shading of the forehead is complete (see below), I will come back to it later, even out the spotted areas with a blob or shade more if I removed too much of the blob. I've done enough shading now that I'm ready to draw in the left eyebrow with a mechanical pencil in firm, confident strokes. Don't draw hairs on a white background; first shade the eyebrow itself. Take your time and carefully draw each hair.

Once again we will be “scratching” the paper with a 4H pencil (see below). This will help create the pores and wrinkles after we go over this shading with a mechanical pencil.

This area of ​​the face reflects light, so we must try to convey a complex effect, a highlight on the pores of the skin with small wrinkles. Again we'll use the paper relief, the graphite rod and the kneading (in tandem) to transfer it all until you're happy with the result.

Work the eyelid well with a 4H pencil for subsequent shading.

Shade the eyelid and draw eyelashes with a mechanical pencil, then darken the iris and pupil. Note the complexity and variety of shapes within the eye. Don’t even dare think that some elements are arranged symmetrically! Observe the naturalness, study the symphony of patterns.

Again, I used a 4H pencil to create grooves in the paper before shading with a mechanical pencil. After shading, add eyelashes. The apparently white areas of the eye are not white, but slightly darkened (with a 4H pencil).

Start darkening the nose with soft graphite ovals. Mark for yourself the shadow on the nose on the right side of the face (to the right of it). And forgive me for the reflection of the lamp above her left eye.

Press firmly on the 4H pencil to create long hair with highlights. And although the girl clearly has dark hair, these highlights will look natural and not like gray hair. You need to create grooves on the paper, and then go over it with a darker soft lead of a mechanical pencil. This technique also works great for blondes, whose blonde hair in the foreground flutters against the darker background of the rest.

To create the hair, draw long lines using pressure with a mechanical pencil. You will notice light hair appearing where the pencil graphite does not penetrate.

Continue using the oval shading technique to create the skin and dark lines for the hair. Carefully darken the ear, paying attention to the subtle transitions of shadows that are so abundant on the surface of the ears. Imagine cartilage, fatty tissue and skin forming contours and reflecting light.

Although the paper is shiny due to the light, you can get the general concept of drawing hair by using an HB pencil and a mechanical pencil. Note for yourself the highlight on the nose and the general direction of movement in the drawing - from the upper left to the lower right corner. This will help prevent the drawing from smearing.

Below you can see the effect of running a soft lead along the grooves of an HB pencil. We continue darkening.

I created a highlight on the cheek with a very light blend while shading into a darker area using a mechanical pencil.

Let's look at the mouth in close-up. I increased the contrast so you can see the lines and shadows better. There are no straight lines in nature. All contours are harmonious. Think of these outlines as islands on the horizon. Close your eyes and you will see an archipelago in the Pacific Ocean.

Create folds by pressing firmly with a 4H pencil.

Now darken with the soft lead of a mechanical pencil. Keep discovering interesting shapes and patterns. Note that part of the lip is similar to an ECG strip. And the small serifs near the corners of the lips, and how contrasting the light plays in them. The teeth are not white at all, but in the shadow of the lower lip.

Darken the lower lip (see below).

Darken the rest of the face. Observe the reflection of light from the jaw (see below).

(Note: photo is slightly distorted)

Below is an extreme close-up to give you a better look at the oval shading technique.

After quite a bit of darkening the hair and blotching the face, the skin still looks a little patchy (see below). This is the very borderline moment between photorealism and hyperrealism, and only you can decide whether to step there or not. If you ask me, I will answer that the drawing should still look like a drawing. I'll leave a hint of the shoulder as a single line and shade the hat with simple diagonal lines. As for blotchy skin, I can even out my tone day and night in pursuit of perfection, but a person is worth being imperfect.

How long did it take me to make this face? If you add up all the hours, it’s about a day.

This is quite a difficult lesson, so it may take you quite a lot of effort to repeat it. If you didn’t succeed in drawing the skin the first time, don’t despair and try again. Try your best to complete this lesson. If it still doesn’t work out, you can try to complete the lesson “”. But I believe that you will succeed.

What you will need

In order to draw the skin we may need:

• You need Photoshop program.
• A little patience.
• Good mood.

Step by step lesson

Drawing characters from films, cartoons and stories is much easier than drawing real people and animals. There is no need to adhere to the rules of anatomy and physics, but each character is unique in its own way. The authors created them using special patterns, which must be repeated quite accurately. But if you want, when you start drawing the skin, you can always make the eyes a little bigger. This will give it a more cartoonish feel.

By the way, in addition to this lesson, I advise you to pay attention to the lesson “”. It will help improve your skill or just give you a little fun.

Tip: Perform different actions on different layers. The more layers you make, the easier it will be for you to manage the drawing. So the sketch can be made on the bottom layer, and the white version on the top, and when the sketch is not needed, you can simply turn off the visibility of this layer.

As you complete this tutorial, please note that due to differences in software versions, some menu items and tools may have different names or be missing altogether. This may make the tutorial a little difficult, but I think you can do it.

This tutorial describes a simple technique for painting skin in Photoshop.

Step 1. First you need an accurate sketch. On the sketch, you can mark the “shape” of a part of the body with the thinnest contours in order to emphasize its symmetry. It will show how correctly you are drawing.

Step 2. After finishing work on the contours, select the main shade (see palette) and fill the “skin” with it, try not to go beyond the boundaries of the sketch.

You can create your own palette or use a ready-made one, see fig. below:

Step 3. Using a palette, gradually add dark shades to places where they are needed.

In the process of darkening, pay attention to the fact that the principle of drawing watercolors is used here: dark tone on light. After you have marked the dark areas with one color, use an Intensity of 30-40% (see needs) and carefully separate the boundaries with smooth strokes.

Regarding the clear lines of the skin, there is no need to draw them black, the same goes for light areas. You can also use layer mixing Multiplication, it is suitable if you need to make the skin darker or richer. For an example, see the screenshot below.

Step 4. Look at the result:

1. When choosing the main tone of the initial fill, you do not need to choose the lightest tone because It will be needed later to shade the lightest areas of the skin - highlights of different parts of the body. It is also possible to use a Linear Lightener, within reasonable limits of course (with a slight transparency setting) so as not to get too bright a color.
2. See Step 1. Here, thin light colored counters emphasize the direction of the light. When you move on to darker areas, remember to also follow the direction.
3. Do not forget about reflexes so that the body does not appear flat. Also use the “Multiplication” mode and in no case should you use black. Use more neutral tones close to black.
4. When drawing a body without it, as in the example here, do not forget to leave hints of the convex parts of the body (eg nipples), which will then be covered with clothing.
5. Don't forget about other items on your skin. Take into account the relief of the body so that the contour of the shadow is correct. I also recommend using the “Multiplication” mode in this case.

Let's look at what happened:

Now you know how to draw skin, I hope it was interesting and informative. Now you can pay attention to the lesson “” - it is just as interesting and exciting. Share this lesson with your friends on social media. networks.

It would seem, why is it so difficult to draw skin? A couple of wrinkles, some shadows, paint - and you're done! Wait, how to color it?!

You need to paint the face with special care; moreover, this is often the smallest detail of the drawing. But in this article, I'll look at ways to achieve skin color in three of the most widely used techniques.

I'll probably start with the simplest technique - drawing with a pencil.

Hardly anyone has ever seen a skin-colored pencil. If you have, then you are lucky. I will tell you about color combinations to achieve skin color. Usually, for these purposes, I take pink as a base and add yellow, orange or brown on top in the right proportions (most often yellow in a 1:1 ratio). You can also take yellow as a base and add red or brown. The combinations depend on the desired result. To express shadows, tan and blush, you can use basic combinations by simply thickening the colors.

Particular attention should be paid to the fact that if you have applied too much of one color, you should not “mask” it with a thick layer of another. It’s better to carefully (!) wipe the pencil with an eraser. But, even if a thick, rich color is needed, there is no need to first apply a thick layer of one color, then a thick layer of another. It is better to apply thin layers of each color (it turns out something like a layer cake: pink-yellow-red-pink-yellow-red...) until the desired thickness is achieved.

Next I'll look at painting with gouache.

There is nothing complicated here. It is enough to dilute the desired color in the palette and apply it to the drawing.

Common colors used to obtain skin color are red, white, yellow and brown (2:1:1:1). However, ocher (2:1:2) is often used instead of yellow and brown. To achieve the desired color, tan or blush, parts of a particular color are increased or decreased. It should also be noted that it is not advisable to use pink instead of a red-white combination.

To achieve a pale complexion, do not apply a thin layer of paint so that the paper shows through. You just need to add more white or yellow paint.

You can also add small amounts of blue and green colors (both when drawing with gouache and when coloring with pencil), however, this should only be done if you know exactly what you want and what you should get (for example, a sickly look or a shadow).

And finally, watercolor.

Watercolor is the most capricious of paints. Therefore, I would advise you to look for the color you need in the sets. If you combine colors, you will end up with either a daub in the drawing or a daub in the paints. However, if you practice enough, take good paper, paints and a brush, you can get the desired color, again by applying the base and adding the desired colors.

By the way, if you have watercolor pencils at your disposal, the task becomes much easier. In this case, you need to color the drawing as with ordinary pencils (in no case less carefully) and brush over the drawing with a damp brush.

Well, that's basically all.

Drawing skin- this is one of the most difficult tasks facing every photorealist artist. To achieve a truly realistic effect, a combination of many factors is important - color choice, mixing methods, specially tuned brushes and created textures. It is also important to remember that each skin type needs a different approach. The delicate porcelain skin requires a similar technique to the clear skin found on children, but it is quite different from the techniques used to paint dark skin.

In this lesson, I will tell you the main differences in drawing the main types of skin, and draw your attention to important anatomical features. I will reveal the secrets and subtleties of using customized brushes to achieve the desired effect. I'll also talk about certain skin tones and share a color palette so you can learn how to use it in your own work. This lesson does not contain the basics of drawing a face, it is intended for those who are already familiar with the basic knowledge and skills in drawing faces, and also know the general rules in applying color and mixing it. However, where possible, I will remind you of the most important issues at this stage of drawing.

To get the most out of the lesson, you must have any version of Photoshop or Painter at least version 6, as well as a tablet.

Author's secret: Rich colors

When you create a palette for painting a face, choose really saturated colors, excluding the midtones (mildtones). This is important because colors are always applied with reduced opacity and therefore lose some of their vibrancy. Unsaturated colors will look gray and uninteresting from the start. Also, do not forget that if you are unhappy with the color you have chosen, you can always change it using the settings Color Balance(Color balance). Usually the colors look more brown, to correct this move the red slider Highlights(Light) to the left and the blue slider Shadows(Shadows) to the right.

Porcelain

1. Color is very important

Porcelain- this is a special and specific type of skin, where the main role is played by the choice of color. It's a well-known fact that the highlights, shadows, and mildtones of skin should all be different colors, no matter what type of skin you're painting. This rule is the most important in painting porcelain type. Typically this effect is achieved by choosing slightly saturated midtones (mildtones) and bluish shadows (shadows).
However, I think the key here is the highlights. There are many options, but a slightly turquoise/green highlight immediately creates the effect of porcelain skin - fragile with a fresh glow.
Choose a palette and sketch out the main facial features. It doesn't really matter what tools you use, just try to avoid the Airbrush for now.

2. Smooth skin!

Smoothness- this is the second important point in drawing the effect of porcelain skin. Usually, for a good result it is enough to use rough transitions in combination with additional textures, but now we need a perfectly smooth surface. In order to get this effect, first we draw rough transitions (Hard Round Brush in Photoshop or Blender in Painter), having defined the basic shapes, then we move on to working on soft transitions (Add Water only in Painter or any brush with using the Airbrush option with a low opacity value in Photoshop) to soften the transitions.

3. Forget about textures

I always emphasize the need to use textures to achieve realism, porcelain skin is the exception to the rule. Although I usually recommend drawing tiny pores for skin texture, in this case it's best to skip this step. Instead, choose a color for the highlights and airbrush the most prominent parts of the face, such as the forehead, chin, cheekbones and the tip of the nose. Make the highlights really pop and use a high opacity to create that glowing skin effect we talked about earlier.

4. Final retouching

Once you're mostly done, you can try some additional tricks to further highlight the softness of the leather. The first is to choose a medium shade (mildtones) and use an Airbrush to soften the outer edge of the lower lip, creating a soft transition from the lips to the face. After, without changing the brush, select the highlight shade (highlights) and draw a small bulge above the upper lip, and also emphasize the lower lip, as in the picture below. At the end, slightly soften the contour of the face using a tool (Blur Tool) or an airbrush (Airbrush).

Transparent

1. Children and vampires

Transparent The skin type, at first glance, is very similar to porcelain. However, there are some differences that are worth considering in more detail. Combined with the existing rules for choosing color transitions from shadows to midtones, it is impossible to determine a single correct color, since it depends heavily on the character being drawn. The palette for children should look more natural, it can be described as “typical” shades, but the skin of vampires is paler and sickly, based on existing legends. When creating a transparent skin type, the most important thing is to understand its structure and create appropriate textures.

2. Anatomy. Be careful!

Keep in mind that the anatomical contours of a child's face are slightly different from an adult's. This is especially noticeable on the cheeks. As you can see in the image below, I marked the bump area with a red line and along this path I marked the shadows and white highlights with blue shading.
Also, if you haven't done this yet, you need to decorate the nose and cheek areas with slightly pink shades.

3. Texture time

It's time to create the illusion of transparent skin - let's draw the veins. Since the skin is very thin, veins are more visible on the child's forehead and above the eyes. And you should also remember that the older the children, the less noticeable the veins will be.

If you draw a vampire, do as your heart tells you. I use a combination of expressive, almost black, veins around the eyes and lips, gradually disappearing, it looks interesting and gives a convincing look to the vampire.

Select a purple or blue brush color (Hard Round or Airbrush) and create a thin web of lines that should look like veins (1 in the image below). Smooth the layer slightly and experiment with blending modes until we get the result we are interested in. Now let's emphasize the thickness of the veins using a dark red airbrush, paying special attention to the junction of the veins (2), add some dark strokes (3). If necessary, to enhance the effect, lightly darken the area with mid-tones with an airbrush.

4. No pores

For the final texturing stage, I will again refrain from drawing in the pores. If you are drawing a newborn, you can try adding small rashes, which are common in small children. We do this, place dots of different sizes of a reddish color on top of each other - start with large spots that are highly transparent, gradually moving to small ones with a little transparency. Particular concentration on the cheeks and chin areas. You can also add tiny highlights to your nose and lips - these little touches add extra cuteness!

If you're drawing a vampire, use a huge Airbrush to follow the contours of the face. This will add a mysterious glow to painful skin.

Dark skin

1. Anatomical features

At first, choosing a color for a given skin type may seem very difficult, but you can create a palette using the mid-tones of European skin type as a base and then darken using the tool Brightness/Contrast(Brightness/Contrast). However, the key to creating truly realistic dark skin is knowing the anatomy and textures. A bit general, the nose is usually steep and wide, and the lips are full. We emphasize the volume, add a glow to the upper contour of the lip (1) and a small shadow cast by the voluminous lips on the face (2).

2. Mixing rules

The mixing rules are the same as for light skin. We start by selecting and applying medium and dark tones from the palette with any tool except an airbrush. We should avoid the finger and blur tools; we don't need the same neat transitions as when drawing porcelain skin. To smooth out rough transitions, use the Blender tool in painter or the Hard Round brush in Photoshop.

3. Draw pores!

After drawing the base of the face, we move on to texturing. There will be a lot of textures to add the oily pores characteristic of this skin type. Start by choosing a very light nude color and using a hard round brush, paint in the pores, overlapping each other. Add the greatest concentration of pores in the area of ​​the nose and cheeks. Pores are also important for diagonal areas and light-colored areas (1). Do not forget about the constant change in transparency, increase it in the most glare places.

After the basic texturing, Photoshop users can add a little trick: create a new layer and paint the desired areas with small diagonal strokes of almost white color. Then right-click on the current layer and select from the drop-down menu (Blending Options) - (Inner Shadow). Adjust the distance and size, and take the shadow color from the midtones (2). If everything worked out correctly, then when reduced, the skin will look incredibly realistic.

4. Perfect lips

And now a few words about drawing lips. The main color has already been drawn, now let's add small light dots with the Airbrush tool and blend them later with a large brush. To emphasize the size and volume of the lips, add large vertical lines of light color, connecting them with separate dots.

Author's secret

Switch between programs!

Many artists have difficulty learning Photoshop or painter and therefore limit themselves to one thing. Figuring out how to draw something you can already draw perfectly well in another program seems like a waste of time. But both programs have a number of unique characteristics. Photoshop is amazing at adjusting colors and creating your own fantastic brushes. While Painter has fabulous blends that speed up the painting process and many brushes that faithfully simulate living materials.

Pale redheads

1. Free technique

I find this skin type to be one of the most interesting, but it is very rarely seen in digital painting. First, we choose the colors we like, the main thing is that they remain pale. I prefer orange shades, they go well with my hair. Apply colors and select brushes as usual. What makes this skin type so special? These are small, individually insignificant details that together give a stunning effect. Let's start by drawing the base of the face with the tools you're most comfortable working with.

2. Contrast

The face should be almost colorless. Therefore, we choose non-contrasting shades for drawing the face, as well as unsaturated yellow and light orange colors for drawing eyebrows and eyelashes. The eyebrows should be barely visible; use a transparent airbrush to apply the bulk of the hair. Eyelashes, first draw thin brown strokes, and then light ones with high transparency. If your eyes lack definition due to a lack of dark lashes, you can try adding sheer dark flecks at the base of your lashes.

2. The charm of freckles

There are several types of freckles, depending on the skin type: temporary, which depend on exposure to the sun, characteristic of Europeans, and permanent, characteristic of people with very pale skin types.

The first ones are easier to draw; you just need to add a small number of dots to the usual skin type. And the latter is a more complex process. Their shape looks like a patch and covers a large area of ​​the surface of the face.

Let's start applying the texture of realistic freckles, create a dot brush (Sparkled). If you are working in painter, use jittered Airbrush.

Now choose a color a little darker than the midtones and use low opacity to work on most of the face. We gradually move from matte to dark orange shades. And at the very end we draw freckles one above the other to give a natural look. If they don't go well with your face, try changing them.

4. Additional colors

Once you are done with all the previous steps, there will be very little left. If you feel that your face is too colorless, which happens very often, try adding reddish shades or additional derivative colors.

Translator's note: unfortunately, I did not find the original palette from Marta Dahlig. Therefore, I will attach a color chart to the lesson. I hope you find it useful.