Using colored pencils we draw the skin color of the shadow. How to draw realistic skin texture in Photoshop

When drawing a portrait, it is very important to accurately convey the expression of the eyes. It’s not enough to build it right eyeball, eyelids and eyelashes, you also need to decorate them correctly.

Since we have already touched on the topic of creating a portrait more than once before, today we will tell and show you a few simple tips, which will help not only draw, but also decorate the human eye.

Let's start with a sketch. It is important to emphasize the line of the eye from the very beginning. The iris should be based on a circle. Due to lack of experience, many people draw an eye in the shape of an ellipse - an “egg”, and this is a fundamental mistake of novice artists. Likewise, people often get the angle of the eye wrong, which should also be part of the entire drawing. Don't draw it too narrow or wider than the eyeball.

The eyeball is never perfectly white! In all people it has a slight grayish tint. And in the corners the shadow from the upper eyelid is often clearly visible.

It is better to emphasize corner and internal lines pink pencil(you can replace it with red) and a skin color pencil.

Draw the pupil. First, set the first layer of iris color. The more shades of the same color we have, the better. Let's start, of course, with bright colors, making gradual transitions to denser and darker places. In the place where we draw the reflected light - the highlight, the eyelashes are also reflected. We show them too.

Use dark black to correct and emphasize the lines along the iris, except for those places where the reflection of light is visible; they should remain slightly blue. Draw a brown circle around the pupil.

Add the remaining shades of blue. It is best to paint with short strokes on top of the previous layer that we added earlier. In general (except for light reflection) the eye should be painted over bright color. Draw the pupil in black, and lightly press the area around the eyes with a skin-colored pencil.

We work out the shades of the lower eyelids in more detail with nude, pink and brown pencils. It must be remembered that the line of contact between the eyelid and the eye should be different in color from the rest of the skin. You can ask several here pink tint. In dark areas we use bronze. It is better to use coloring in several words: first dark and dark and at the end cover it with a layer of cream.

The upper eyelid never gathers into just one fold. It has many curves. We outline the folds with dark brown, lightly rub a bright brown pencil and cover it with flesh color. If we draw an eye that has makeup applied to it, we must also highlight the eyeliner that is applied to it. upper eyelid. For this, I suggest you use black and dark brown.

We draw eyelashes with a carefully sharpened pencil and constantly check whether it is too dull. Eyelashes should be beautiful: bright, long and lush. They shouldn't be drawn too much simple lines, we have to bend them a little. Slightly crossed and sticky eyelashes will look more realistic. The lower eyelashes are thinner and much shorter than those at the top.

Final touches (eg. add White color to illuminate the corner of the eye, glare) and you're done!

It is worth remembering that the eyes are individual for each person. . And like fingerprints, you will never find two people with the same eyes. Moreover, the left and right eyes of one person are also strikingly different from each other. There are times when the difference is not only in the pattern of the iris, but also in its color! Therefore, it is very important to correctly convey the expression of the eyes, their color and size.

INTRODUCTION

There are tons of skin drawing tutorials online, so I did my best to make my contribution a little different from the rest of the tutorials. First, we're talking about multiple skin tones. Most existing tutorials teach how to draw light or dark skin, and only a few teach variations in shades. In this tutorial I will be talking about several shades of light, natural and dark skin, as well as how to give it a fantasy or horror look.

I'll also talk about how color combinations and the position of light will affect the colors you choose, how to mix paints, and what painting techniques I use when working.

For digital processing I use programs Adobe Photoshop and Corel Painter. Theoretically, all programs are equal in their capabilities and functions.

Ready? Go.

I:: SKIN DRAWING BASICS

Many drawing tutorials highlight several shades of skin: midtones, shadows, highlights, and sometimes “warm” colors. This is, of course, the right approach, but it is far from simple. Skin is not a flat, monochromatic surface; Its complexity lies in the fact that it contains several shades. I'll expand on the concepts of skin tones by adding a few notes of my own. Trust me, everything is not as difficult as it seems.

The colors and shades will vary depending on the skin type you choose. I will say more about this in the second part. this lesson. But all skin tones come down to one general scheme:

(1) MIDDLE TONE: This includes the colors that make up the actual color of the skin. There should be several of them, with the same saturation, but in different tones. The saturation of tones should be low in relation to skin tone.

(2) BASE TONE: We can say that this is the average value of the main (middle) tone. The main tone is notable in that it is pale and does not stand out much. All other shades will be built on its basis.

(3) SHADOWS: The darkest areas of an object that are shaded by the angle of light. There are two things to remember here: firstly, that they are usually very rich, and secondly, that they are not thick. And the colors and depth of shadows should vary across the surface of the entire body.

(4) LIGHT SPOTS: The lightest areas of an object that receive light. This includes any areas of the body that are lighter than the average tone. Like shadows, highlights should vary in color and brightness throughout the body.

(5) GLARE: Highlights appear where light reflects most intensely off the surface of the skin, usually in oily areas. They are most often found on the nose and lips. The highlights should be brighter than the highlights, but don't overdo them.

(6) WARM COLORS: Warm colors include those that give the skin a vibrant, healthy look - blush on the cheeks, redness on the knees and legs. They have increased saturation and shades of pink, orange and red. Do not apply them over the entire surface of the skin and do not create bright spots.

Mid-tone, base tone and shadows are applied evenly with high color saturation. Highlights and warm colors, on the other hand, are applied with low color saturation on top of the base. This helps to achieve the effect of transparency and naturalness of the skin. Warm colors themselves are very bright, but when correct use they only decorate the picture and enliven the skin color.

When applying highlights, use several shades with low color saturation. Cool shades (light turquoise, blue or lavender) are great for giving your skin a natural tone, but don't forget shades of pink and yellow; combination of cold and warm shades will give the skin a natural look.

The background will also greatly affect the color of the skin, but I will talk more about this later. Suffice it to say that the color you choose from the background can add flavor to your drawing.

If this all sounds too complicated for you, relax. Let's visualize all this on a black and white sphere, and then see how this sphere will be played up with color... on the sphere on the right, a “warm” color has been added. I simply applied a bright spot to an area of the sphere, and look how it changed, it became more animated, radiating freshness and beauty.

+ Use of a limited number of colors. This is perhaps the most serious mistake. Some take one color as a base, and use dark and light variations of the same color to apply shadows and highlights. NEVER DO THIS! You will end up with lifeless, flat skin. The secret is to use different shades. Be bolder, mix colors, change saturation, experiment.

+Use of low contrast shadows. This robs the skin of its vitality. This approach also leaves the skin flat and lifeless. One of the secrets to beautiful eyeshadow is using rich shades. The shadows are neither gray nor black; they are colored, and what more colors you use, the more realistic they will look.

Take a look at this portrait I painted a few years ago. Notice how flat and lifeless the skin looks on the original - the error is not only in the low saturation of the shadows, but also the colors themselves are too pale - the skin is almost gray. In the second picture, the skin takes on a vital glow and shape. Here, not only the colors became better, but with the change in these colors, the shape also changed, the body gained volume.

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 your face with special care, and it’s often the most small detail 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 as a basis pink color and add yellow, orange or brown on top in the required 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 thick is needed, saturated color, then 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.

Typically red, white, yellow and brown colors(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 sickly look or 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 train enough, take good paper, paints and a brush, then you can get the desired color by again applying the base and adding the desired colors.

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

Well, that's basically all.

Description:

In this tutorial I'll show you how to draw a portrait using colored pencils by layering colors. You don't have to do everything exactly like I did, you can just borrow some of the steps and effects that you need. I hope this tutorial is helpful because it shows a basic way to apply color. Materials: - A3 notebook (about this size), Van...

Materials:
- Notebook A3 (about this size), Van Gogh, 160 g/m2
- Colored watercolor pencils (Koh-I-Noor Hardtmuth, Mondeluz 48)
- Plain graphite "B"
- Mechanical 2B
- Image - reference
- A stick, a sharpener, a piece of cloth, some sandpaper

*** My colored pencils are water soluble, but I will not use water in the drawing. The thing is, I don't have regular colored pencils, so I'll use these.

Preparation:

The first thing you need to do is think about what exactly you want to draw and how it will look in the end. Then you need to do a rough, simple sketch on a small piece of paper to plan and decide where the colors will lie. IN in this case, I don't need a sketch as I will be using a reference.
I chose a photo from a stock site* as a reference. This will be what I call "traditional photo manipulation." Then I printed out the reference and applied some color, just a basic color scheme which I will use. I chose pink, lilac, blue and green (I will use some variations of these colors later)
*I will give a link to the photo at the end of the lesson.

Basic sketch:

Before you start coloring, you need some basic lines with an HB or "B" graphite pencil. You can transfer the lines in any way, to your taste - by hand, in cells, using carbon paper... Just make sure that the proportions are correct. Subsequently, you will not be able to correct mistakes - colored pencils are not completely erased from the paper. I chose the freehand method; This The best way train your hand and eye.
Just draw the basic lines of the shape without any detail. I completely forgot to take a photo of the process, but what I did was draw everything except the hair. When I get to them, I'll just draw the mass of hair as a whole, without drawing individual strands, as you'll see how I'll do this later.
Now I need to lighten the lines a little with the crayon so that they are not very noticeable and they will not smear and blend with the colored pencils. I do this by lightly pressing the eraser onto the paper, similar to stamping XD. Don't rub the eraser on the lines, you may just erase them.

Color the details of the face and skin:

Well, we've reached the fun part! I start painting from the left eye. First of all, I drew in the eyelashes with a black pencil and added some 2B pencil on top. I wanted to completely fill the structure of the paper so that it would become completely black. The problem is that water-soluble pencils are softer than regular ones, so they paint somewhat unevenly. In any case, we continue to paint over the pupil and iris of the eye. The pupil is black and I add dark blue to the iris (shading a bit with black first). I then added a light pink to the brow and around the eye, and then a bit of maroon to add depth. Never click on if you want a darker shade, just add another layer of color on top of the previous light one.
Let's move on to the right eye. It's drawn the same way as the left one, but I used cooler shades for the skin around the eyes: light purple, dark purple, and a little dark blue and black to shade the skin where the face ends. And again and again - always adding a thin layer of light color and then more dark color if it is needed.

Move on to the nose and lips, then shade the left side of the face. In the photo above you can see the colors of the pencils, on the left the shades are mostly cool: various shades purple and blue; right: warm pink and purple. Draw an imaginary line along the entire face, crossing the nose and lips, dividing the warm and cool sides. The lips were painted in the same way as the eyes: first the black area was painted over, as well as the eyelashes, the teeth were left unpainted, as well as the highlight in the eyes. The lips were painted in the same layering method as everything else. Make sure to leave some areas unfilled with color to add shine to your lips. Everything with the face. I left part of the face blank because I wanted to keep the contrast high.

Paint the first section of hair (see photo above):

1.Take a very dark blue and follow the lines of the sketch to outline the shape of the hair.
2.Using the same color, create shadows on the hair.
3.Take a light green (I call it baby green) and paint in the areas between the dark shadows, leaving the areas where you want the highlights unpainted. This will be the base of the hair.
4.Take blue again, but this time lighter than the previous time. Paint some areas from dark to light, detailing the hair and softening the green.
5.Now add light purple and pink around the highlights.
6.Repeat step 2 again to add more depth.

The most important detail: When drawing hair, follow the hair lines, lots and lots of lines and nothing more. This makes the hair more realistic and detailed. Another point is to keep your pencils sharp (especially if you're drawing hair) because you'll need fine lines so that everything works out correctly. Sometimes a sharpener isn't enough, that's why I use sandpaper to sharpen the tip of the pencil from time to time. This is easier than using a sharpener to achieve a very sharp pencil tip.

Draw the second section of hair (done in the same way as the previous step):

1.I drew the base lines with a graphite pencil "B" in more detail. Then I lightened them with a nag.
2.I chose the main colors for this part of the drawing. The colors are clearly visible in the photo: some light neutral tones, light but not too light blue, dark blue and the darkest blue.
3.I started covering the base lines with dark blue.
4.I paint over the base with a lighter color.
5.Add the lightest blue to the areas around the highlights, without touching the highlights themselves, leaving them white. Then we add neutral color for glare. I did not paint over the entire highlight area, look at the photo, I did a little work with the corrector.
6.Then I decided to add a little dark purple throughout the hair mass, and I used black to enhance the shadows where the ear should be (even though the ear itself is shaded so much that it is not visible).

Third hair section:

1.2.&3. The same as in the previous steps. Colors chosen: two shades of pink, two shades of light blue and two shades of dark blue.
4. I used a very light pink on the dark to light areas and also did a little highlight work with it.
5. Added more depth with darker pink, some details with blue.
6. I decided to add a little white to each section of the hair because it was a little smudged and needed some vibrancy. But don't overdo it, it will kill the details.

Turns out I didn't use all the blues shown in the second photo lol. Forgive me for this. I only used the one on the left and one dark color. Or maybe I just used them to add some detail and depth, but that doesn't matter anymore. Have you seen the colors I've already used, just in different combinations. This is because I don't like things to be too colorful. I only use three shades of the main chosen colors: pink, purple and blue. Oh yes! It's also green! Green adds contrast because the other colors blend into each other.

Painting the shoulders:

The shoulders are drawn in the same way as the face. The left side is darker, so I used a warm purple/deep pink and some cool dark purple on the first layer.
Then I added dark blue and cool purple. I used a piece of fabric to soften the color transitions a little. I did the same with the face, I just forgot to mention it. That's it at this stage.
I only created two layers on the right shoulder. I used a light cool purple for the first and a darker cool purple for the second. Mix everything with a cloth.

Coloring the neck:

The neck was painted the same way as the face, but I'll explain in more detail (I forgot to take a photo of this process earlier)
1.I applied a very thin layer of cool purple
2.Added another layer, this allowed the contours to be more noticeable
3.And at the end a little warm pink and dark purple
4. The final layer was made with the darkest shade of purple, a little blue and a little light purple, the same one from the very beginning.

Very important: when I painted the skin, I did it very slowly and filled very small areas with color. I do this because I don't like the texture of the paper to show and I try to make the work look as smooth as possible. I should have used a lighter paper such as 130gsm because the smoothness varies depending on the paper.

I won't explain how I drew the remaining hair on the right, because I already showed the whole process. Some strands are created using multiple layers, I'll just tell you what colors I used in this case if you don't quite understand the colors in the photo (each hair strand starts with 1)
1. Baselines: Graphite
2. bluish green
3. dark blue, baby green
4. two different shades of dark blue, pink, light blue and white (used in previous steps)
5. dark warm purple, light cool purple
1. two different shades of dark blue (same as used before)
2. dark pink, neutral, light blue, white
1. dark blue
2. darker blue than previous shades, pink, light blue, white

Colored bubbles

The first thing I did was find some photos soap bubbles, I didn't use them as a reference, but I did draw some bubbles to get an idea of what colors to use. It was quite difficult to draw the bubbles because the background is colorless, so they can't be 100% realistic.
First of all, I took the tool like in the photo (I don't know what it's called in English.*) and drew round spheres, some of them were a little distorted, but using the tool is much easier to draw than freehand. I was careful not to make any holes in the paper with the tip of the tool, so I was careful.

Now, on the following photos, you see how I drew bubbles. Well, you can also see what colors I used. I used a lot of shades if you noticed, but I created many of the shades by combining colors, different for each bubble. I painted them quickly enough that I didn't even take a photo of the process because I just layered one layer on top of the other in a circle, one after the other.

OMG, so what? All is ready! All that's left to do is scan the work and clean it up in Photoshop, I usually just adjust the contrast because the scanner usually kills the colors. I also cleaned up the background because the paper texture shows up in places on the scan. I just took a white brush and made the background completely white, the way it should be.

This is the end of my first lesson. I hope you enjoyed it and discovered something new! This is just one way to use colored pencils

Thank you for your attention

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Paint realistic, natural-looking skin from scratch using traditional techniques and only three brushes.

My name is Mayrhosby Yeoshen. I am a student at the faculty Computer Engineering in Venezuela. Digital illustration is my passion and it is more than just a hobby. Basically I like to portray human face or original characters which you can see in my gallery. IN Lately I work as a freelance illustrator, trying to breathe realism into what I do. I am mainly inspired by Korean Renaissance and Neoclassical artists such as Boticelli and Bouguereau because of the impeccability of their artwork.

PREFACE

Every CG artist has their own way of drawing skin tones for portraits. However, not everyone is able to achieve its realistic look, since at first glance it seems difficult to avoid artificiality due to natural material skin. Although it is much easier to achieve an organic feel when we paint in the traditional way. And the reason is not only the use of sprays (Airbrush) and mixing colors. It's a matter of adding your own to the picture. characteristic features and showing caring attention to each individual part: from the color of a teardrop to the crease on the lip. You might think that drawing like this seems like hard work, but in fact, it is not. The result is more important. After all, mastering this lesson will help you create not only beautiful portraits, but will also significantly improve observation skills.

Of the traditional methods we use in this lesson, only cross-hatching is present. But make no mistake. Unlike simple drawing pencils, this technique will allow us to achieve what we want, namely - realistic look skin. The fact that we can work on a canvas several thousand pixels high and can use close-up for maximum detail, will allow us to take control of each separate part paintings. For this technique, only three brushes are used. The first is created from a basic Round Blender brush, the second is downloaded from the Internet, and the third is a Cover Pencil brush.

We apply the main shades with the first two brushes, and we will use the pencil only for shading. This method will also improve your perception of shapes and three-dimensional environments. Once we've chosen the colors for the shades, we'll blend them out, get rid of the linear sketch, and get to the fun part of adding lots of detail. As an attachment to the lesson you will find a layer in .psd format for training and samples of other skin tones. You can use them with this technique shown in this tutorial to create portraits of people of different nationalities.

LET'S START WITH THE BASICS.
The basics are everywhere! Select your main image and main colors.

First we have to make a sketch. You can make it from your favorite photo, scan it already finished sketch or use the included file "SkinToneForTutorial.psd". In the latter case, we will get a ready-made sketch of the face and ear. And since everything else is done at this stage, we can concentrate on painting and texturing the skin.

2. Pay attention to environment and mood.

What do you want to depict - day, night or twilight? Natural light or artificial light? What mood do you want to convey? All of these things will interact with the skin as they are an integral part of the painting. In our tutorial we will convey a warm atmosphere with natural light, so skin tones will largely remain the same.

3. Color palette.

Using your reference, determine the base colors for dark, medium and light shades. In addition, choose additional colors for the cornea, iris, lips, and subtle shades for the eyelids, blush, or something similar. In the appendix you are given samples of skin tones not only for the white race used in this tutorial, but also for other skin types.

APPLYING SHADES.
We enrich the base with shades.

In the screenshots below you will see the basic settings of the first brush we used. Select the “Round Blender” brush from the “Blenders” category and open the Brush Creator using the keyboard shortcut Ctrl+B. Go to the Stroke Designer tab and enter the specified settings. We start working with a low brush opacity – “Opacity” of about 7% and a brush size of about 24-30px.

5. Apply shadows

Check the “Preserve Transparency” option on the skin layer. Now choose a warm light brown color and start applying it to the medium-dark areas, using your reference to define them. In our case, we will shade the skin under the eyebrows, eyelids, chin and the left side of her face.

6. Mix colors

Don't be afraid to use more shades from your palette, such as pinks and oranges that are darker than your base skin tone. Keeping the opacity low, mix colors using only the feature of this brush (its “Bleed” parameter is blurring, the higher its value, the better the blending of nearby colors). Don't forget to also treat other areas of the skin, such as the neck and upper chest.

7. Deepen the shadows

Make the brush size smaller (about 10-15px). Now, using dark brown, deepen the shadows. Don't be afraid to choose different colors, obtained as a result of mixing, with a pipette - this will only enrich the palette of shades. Also try mixing colors using the brush feature.

8. Add light

Now, having chosen more light colors than the base skin tone, apply them to the right side of the nose, forehead and upper cheekbone. We are still working with large areas, so any detail is out of the question. Look closely at your reference and try to get a feel for the three-dimensional shape of the subject, as well as why the light affects the cheek areas, the center of the nose, etc. For the brightest highlight areas, you can use a light blue color with a low opacity, which will give the skin a more organic appearance.

Fill in the eyes with the base color, taking into account that the whites of the eyes are actually greyish. Apply a shadow to the iris and draw the pupil. Keeping the spherical shape of the eye in mind, add shadow under the eyelid and closer to the tear duct. The cornea of the eye usually has a reddish tint due to capillary vessels.

Once you're done with the eyes, start painting your lips. Fill them with a reddish pink tint and apply dark red eyeshadow. You can also draw a line separating the upper and lower lip with a smaller brush size and a higher opacity setting.

11. Subtle skin tones

Next, we select colors for subtle shades in areas such as the ethmoid sinus, located between top part nose and eye. In this case, we're choosing a nice lavender color with a very low opacity, taking advantage of the brush's ability to blend with the underlying colors. The area close to the tear duct is often yellowish, so use a smaller brush to make a small, rounded stroke there.

12. Light blush

For cheeks, use a bright carmine (crimson) color. Brush big size(about 30px) Apply the shade to your cheeks, blending it with the underlying color.

13. Shading

Now that the main colors are applied to the skin, blend them using Rob's Blender Round brush with an Opacity of approximately 25-30% and a size of 35-40px. You can download this brush in the appendix to the lesson using the link provided. As a result, the face will look smoother, especially if we turn off the sketch layer.

14. Getting rid of the sketch

Now that you've finished working on the facial features, let's prepare the skin for texturing. Hiding and turning on the sketch layer (using the eye icon to the left of the layer), draw the contours of the face using the Cover Pencil brush from the Pencils category at 2px and 30% opacity. Always use a darker (or lighter) color than the base color when filling empty seats pencil bigger size, or a previously created brush small size and high opacity.

CONTINUE USING CROSS HATCHING.
Draw the areas of the eyes and mouth.

15. Let's start texturing.

What we have done so far is prepare the skin for great job on texturing. We are now ready to begin this process using the macro method. Create a new layer and name it "Texture". Uncheck the "Preserve Transparency" option and check the "Pick Up Underlaying Color" option in the Layers palette. Start cross-hatching with a Cover Pencil brush size from 1 to 6px and Opacity: 20%. You can practice in the Brush Designer window (Ctrl+B).

16. Cross hatching

You can start shading from any point you want. In this tutorial, we start with the right cheek. With quick and confident movements, begin to apply arched strokes, according to the shape of the surface of the face. The main mistake beginners make is that they apply strokes at a completely different angle than the existing face shape. If you are not satisfied with the result, erase everything and start again until you get the hang of it and gain some skill. For convenience, be sure to use the rotation tool (The canvas can be rotated by holding down the key combination “Space + Alt” and setting the direction with a pen or mouse. To return the canvas to its original position, just one click of the mouse while holding the above combination).

17. Please note

The success of this technique lies in the quantity and quality of detail we can control. Using magnification, pay attention to the folds, curves of the skin and very different shades on her. To define colors, use the Dropper. Now we're only focusing on skin tones and the Colors panel, not the Mixer palette or anything else.

18. Improve your eyes

Eyes are often the first thing we see on someone's face. And that's why we should focus on them more than any other part of the face. Details such as tear ducts, the inner thickness of the eyelids, the lines of the iris and ordinary highlights immediately attract attention, bringing life to the face and giving it a personal personality. Don't forget about the lower eyelid folds as well.

19. Now the mouth.

Mouth is different characteristic feature face that deserves more study and detail. A common mistake when drawing a mouth, there is a disorder of its outlines, when the drawer does not even bother to study why the lines of the mouth should go this way and not otherwise, and does not take into account its three-dimensional shape at all. Slowly, carefully study all the features of the lips and see where to add light and where to add shadow.

FINISHING THE FACE.
Pay attention to other details.

Drawing a nose can be a lot of fun because of its subtle shades. It can be almost all light colors, and at the same time have very dark areas (nostrils). Pay attention to the skin around the nostrils. Typically in Caucasian skin types, this area contains bright orange and crimson undertones.

If you decide to complete the ears, keep in mind that, like the nose, the ears (white skin type) can have many bright reds, pinks and oranges. The ears do not necessarily need to be given as much attention as the eyes or mouth.

22. Neck and upper chest

After finishing the face, we can concentrate on the rest of the skin. And since these are large areas that do not attract special attention, working on them may seem a little boring. The best option will finish work on other parts of the portrait before starting this stage. Notice the very dark shadow under the chin and don't forget the shadow cast by the hair or dress.

Although eyebrows are not skin, they interact with it in some way. On a new layer, start drawing the eyebrow using the same Cover Pencil brush, but with a slightly larger size (2.5-3px) and Opacity: 50%, starting with the most dark shades and ending with the lightest. Pay attention to the correct direction of the hairs and do not overdo it, otherwise the eyebrows will look fake. To blend better with the skin, make a few light strokes along the contour of the eyebrows in the same color as the skin underneath.

24. Eyelashes

For eyelashes, use the same Cover Pencil brush, but in a very dark color (almost black). To prevent them from looking artificial, draw them in different lengths, thicknesses and sizes. different directions, but do it carefully to avoid dirt. Follow the shape of the eyelid from which they grow. If you draw an eyelash and it looks unnatural, undo it and redraw it again.

25. Completion

Now, the skin has acquired a characteristic texture. All that remains to be done is to take a look at the picture and make sure that everything is in order. Make sure that the shadow of your hair or clothing falls on your skin. If you see that any part of the skin is too textured dark color, select the Eraser (“Eraser”) and setting the opacity to low (5-10%), go over the problem areas. You can also use Blender with low opacity or even adjust the colors a little. All in your hands!

You can see the drawing in the original resolution 2835×3543 px. The shading technique is very clearly visible!

Application:

File.psd for repeating the stages of the lesson:

Color palette for various types skin:

P.S.: I attached a set of Rob’s Brush Library brushes as a file to the lesson