Draw realistic skin on a person's phone. Drawing lessons for beginners

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 slight blending into the 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.

Every aspiring artist or portrait photographer should learn how to create realistic skin tones. As you gain experience, you will be able to develop your own color mixing technique that is convenient for you. In general, the ability to correctly select and mix colors is a real art, since each person has their own unique skin tone. Once you learn how to create realistic skin tones, you can experiment with surreal shades and looks.

Steps

Create a lighter skin tone

You will need to try mixing several colors. To get light skin, prepare the following colors:

Mix these colors. The most convenient way to mix paints is on a special palette. If you don't have one, any other work surface will do. For example, you can use a piece of thick cardboard. Apply a drop of each color of paint to your palette.

Mix paints in equal quantities. Using a brush, mix equal amounts of red, yellow and blue paint. Be sure to rinse your brush in a bowl of water before dipping it into a different color of paint. By mixing three primary colors you will create a base.

Compare shades. You should have the skin tone you want to copy in front of your eyes. Compare the resulting base with the shade you are trying to achieve. If you are copying from a photograph, then consider its lighting.

Lighten the shade. If you want to achieve a lighter shade, add yellow and white paint. Yellow paint will give you a warmer shade, while white paint will give you a lighter shade. Add paint a little at a time and mix the colors thoroughly before adding more.

Add red. If you already have a fairly light tone, but have not achieved a realistic shade, you can add a little red. Consider how red changes your skin tone. Sometimes there needs to be more red in your skin tone.

• You don't want to add too much red paint unless you're going for a shade that will match sunburned skin.

1. Adjust the shade. Again compare the shade you get with the one you want to achieve. Try to correct it further. If the shade is very different from the desired one, it is better to mix the paints again. If it turns out too light, add a little red and blue.

   • You can create several shade options and then choose the most suitable one for your painting.

Creating a Medium Skin Tone

1. Choose paints in the colors you need. To achieve a medium skin tone, you will need to mix more colors. Prepare paints of the following colors:

   • red;
   • yellow;
   • blue;
   • white;
   • burnt umber;
   • natural sienna.

2. Mix these colors. The most convenient way to mix paints is on a special palette. If there is no palette, then any other working surface will do, for example, a piece of thick cardboard. Apply a drop of each color of paint to your palette.

   Mix red and yellow. Mixing equal amounts of red and yellow paint will give you orange. Rinse your brush in a bowl of water before dipping it into a different color of paint.

   Add blue color. Gradually and little by little add blue paint to the base. If you want to achieve a darker shade, you can try adding a little black paint.

   Compare shades. You should have the skin tone you want to copy in front of your eyes. Compare the resulting base with the shade you are trying to achieve. If you are copying from a photograph, consider the lighting.

   Add red. If you need to add red, add it a little at a time. It’s better to add paint gradually so that you don’t have to redo the base later.

   Create a darker olive shade. Mix equal amounts of burnt umber and natural sienna. You will end up with a dark, concentrated mixture. Gradually add the required amount of this mixture to the base. This mixture can be used instead of blue. To create a more olive shade, add a little yellow mixed with green.

   Try mixing until you get the perfect one. Mix colors until you have at least five shades that you are happy with. From them you can choose the ideal option.

   Now you can start drawing. Use one or more options for the painting that most closely resemble a realistic skin tone.

Creating dark skin tones

Choose paints in the colors you need. You will have to experiment a bit to achieve the most realistic shade. Prepare paints of the following colors:

• burnt umber;
• natural sienna;
• yellow;
• red;
• purple.

1. Mix colors. The most convenient way to mix paints is on a special palette. If there is no palette, then any other work surface will do. For example, you can use a piece of thick cardboard. Apply a drop of each color of paint to your palette.

   Make the base. Mix equal amounts of burnt umber and natural sienna. Also mix equal amounts of red and yellow paint. Then gradually add the red and yellow mixture to the first mixture.

What You'll Be Creating

Leather is a very durable and beautiful material and has been widely used since the beginning of mankind. In this tutorial I will show you how to draw a beautiful shiny leather dress and an old leather belt. You can use this technique, which is described here, to create other objects, such as a leather jacket or a piece of leather armor.

What you will need

• Pencil HB
• Pencil 2B
• Pencil 3B
• Pencil 8B
• Ballpoint pen (or better yet, an empty ballpoint pen!)
• Shading
• Nag eraser
• Pencil sharpener
• 3 sheets of paper

1. Draw a Shiny Leather Dress

Step 1

Using a pencil HB, carefully draw a sketch of the body. You can use the mannequin drawing as a guide.

Step 2

Add details to the body: chest and stomach.

Step 3

Draw guide lines along the body to define the 3D shape of the dress, and also outline the tight-fitting dress.

Step 4

Draw “waves” in places where there are folds and stretches in the material. You can learn more about drawing folds in this tutorial:

Step 5

Angle the pencil to shade the side of the dress, saving separate areas for the “highlight paths” in the middle.

Step 6

Draw a dark seam along the entire dress - this will be a striking detail that breaks the smoothness of the material.

Step 7

Also shade the front of the dress. Maintain a bright highlight path on the seam side.

Step 8

Using a feather brush, carefully blend the shading, adding a soft edge to the shine as you go. Once the blender is coated with graphite, you can use it to “add” a soft tone between the folds.

Step 9

By using 3B pencil, shade the side of the dress. Be careful with the folds! Maintain a thin border between the shadow and the outline to create an area of ​​reflective light.

Step 10

Blend using a blender.

Step 11

Shade and blend the rest of the side, keeping the tones lightly around the highlight.

Step 12

Darken the seam to correct the shade with the current contrast.

Step 13

Darken the front of the dress, leaving areas for reflective highlights. Without them, the dress will lose its 3D shape.

Step 14

Using a pencil 8B, add the final shading. Press down harder on your pencil, but don't ignore the shading that's already there.

Step 15

Take a nag to “draw” the highlights. Don't overdo it with white highlights or your skin will look like latex!

Step 16

Finish the drawing by pressing even harder on the pencil. 8B, as well as filling in any unnecessary white spots created by the paper texture.

2. Draw an Old Leather Belt

Step 1

Using a pencil HB, draw a sketch of a belt with a buckle.

Step 2

Draw the other end of the belt, threaded through the buckle.

Step 3

Add the "clamp" and holes.

Step 4

Take another sheet of paper, then place it on top of the drawing. Make sure you can see at least the outline of the sketch underneath - if you can't, then use a thinner piece of paper or overlap both sheets of paper on the window. Take a ballpoint pen and then draw long horizontal "X" strokes all over the belt to imitate the texture of leather. If you have an empty ballpoint pen, you can “draw” directly on the drawing with it. Press harder to make sure you make marks.

Step 5

Take your pencil again HB, tilt it and then shade the belt. You will see texture appearing as you go.

Step 6

Draw lines along the strap for the seams.

Step 7

Using a pencil 3B, trace the contours of the seams.

Step 8

Carefully shade the seams. The pencil must be sharpened!

Step 9

Using a pencil 2B, shade the belt again, this time around the seams. Also darken the holes. Give each part of the belt a darkened edge.

Step 10

Gently darken the side edge of the belt, giving it a lighter shade.

Step 11

Take a pencil 3B To paint the belt in more detail: create shadows under the collar and buckle, and also highlight individual wrinkles on the skin.

Step 12

Using a pencil 8B, add dark accents. Don't overdo this step!

Step 13

Finish the design by adding a metal buckle. You can learn how to draw metal from this tutorial:

Great Job!

Now you know how to draw new shiny skin and old worn skin. If you liked this tutorial and want to learn more about drawing different materials with pencils, check out our other tutorials in this series:

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 and 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 of 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 used correctly 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; a combination of cool 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 the 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.