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2.9 Adding Hair and Eyebrows

In this lesson, we will cover adding the hair and the eyebrows, as well as adding texture highlights to the skin, building on what we’ve done previously, in order to give us depth with our skin.

2.9 Adding Hair and Eyebrows

In this portion, we're gonna talk about adding the hair and also adding texture to our painting. Let's go ahead and get into it. All right, so now we're just gonna go ahead and start with the eyebrow and grab a quick color. It's not black, but dark brownish red. And I still have my texture brush, so I'm going to build the eyebrow with the texture brush. So I wanna build the base first, that's the important part. So I can see my pencil lines, I know the direction. I wanna build the base and just get the form, the shape down, so it's kinda like how a woman would put on makeup. All right, how she would put her eyebrows down first. Create a foundation, and then start to build from there. So now, I start to kinda bring the wisps of hair in, bounce it around and just kinda build in the form and shape with this technique, alongside the filler technique. So It's important that I don't just have a block of paint, and that'll throw everything off because we have so many individual pieces and different things to kinda push the creativity of it, right? So now I turn my brush up, and now I wanna start working on those individual strokes creating those unique hairs, but it's still want to make a body. If you notice the ones that were there before in the exact same place, they become like a shadow for the hair, which helps create dimension, so it doesn't look flat. It looks a little more realistic. It's bringing out the highlights and the depth. I can go back into this and I can actually add highlights if necessary. So I wanted to break up that pattern a little bit, there we go. Just really quickly go through and loosely putting down. Now the key is, try not to have perfect lines because this is not something that should be perfect, it's eyebrows. Let's go over here and briefly do a little on the side. I don't want to go all the way through because I still want to create the illusion or to leave the option for the hat. And, so the hat would cut off most of the eyebrows. So we can see from pencil drawing what would happen there. But I still want to put a base there and put a couple random stray hairs in line. There we go. So I'm pretty happy with what we have for the eyebrows now, so let's go ahead and move to another section of the painting. Now let's put the hair in. Let's kind of just block all of this out. We'll put the hair in, and this should get us even closer to the look were pushing for, heading toward final. So I want to get those wisps there, just like I have with the drawing, the pencil drawing. Random, but I want to show that the hair flow is correct, that it's going in the right direction. And I just sculpt this out here. There we go, just build it out. And I'm still using that brownish red color. In some cases here, you could use black but I'm not interested in that. I wanna keep as much color in the painting as possible. Another way about going this, we can go the entire route of doing a black and white painting and then adding color to it. That's certainly a viable technique and it works. It works just as well if that's just all you're looking to try. The techniques that we've used all work the exact same way, except you're using black and white. You're not using color. So, go ahead and just get these individual strands there too. A little bit bigger so I could take up more space. There we go, and bring this around the corner here. Now, I know that I'm gonna come back and bring some highlights here, so I want to make sure that I have a pretty good feel, but I don't want it to be too obvious. I don't wanna just have a clump of color there, so I want to make it feel like and look like it's hair, all right. So the shape is there but, there we go, those strands I'll zoom in a little, okay, there we go. I'm gonna push this out more and just feel the background here. And you notice that when we do those strands, the little single ones, it gives it more volume. Very easily do, easy to do, as opposed to just putting a block of color there. That becomes oftentimes too heavy, and if you really go dark, about where we are actually, it may take over everything. It may force the eye to look back up at the hair. Unless if we paint the entire hair and we use the hair to shape the face, that's also a good idea. The last stroke was too thick. There we go, make it a little bit thinner. And let's bounce around and come back up top here. Same thing over here, push those out a little bit more. And I think we had a good, solid state for the hair. Once we know that this is okay, and we're happy with this, we can start to prepare to bring in the highlights for the hair, as well as the highlights for the face. So I'm pretty happy with where this is going, and. So I'm gonna just add a little bit here on the eyelashes, bring even darker color in, and this only helps. There we go, just jump in and out. And because I mirrored the eyelashes, this will make it more unique when we go to the other side. It'll break up the monotony. So, touch here a little bit. It's still too thin for me, there we go. Then let's start to bring these highlights in. So let's make a new layer. Let's name this Highlights 2, and we're ready to go. The brush, I'm pretty comfortable with the brush I have, but I'm just gonna make some adjustments on the scattering and the spacing. And now I'm gonna start to build a rough skin highlights now. Let's go with another texture brush, actually, but still the same family. And we're gonna start to get a higher color. That's too high, too high. I'll take that down quite a bit to 20, see what it looks like now. And I'm very gently touching my tablet. I wanna just put enough down. And so I'm creating artificial pores without using a texture or texture brush Just the scattering gives me what I'm looking for. Now I wanna get the ridges in the areas that would catch a little bit of light, and I want to start pushing and working those areas. So, right here above the lip, there we go. Push that nose area a little bit more, rounded part. And notice I adjust the brush to whatever section I'm in or whatever style that I'm looking for. If I need a thin wispy line, I make the brush smaller just on the fly, and I leave it open so you guys can see that. Like I said earlier, I want you to be able to see how I use the brush. Now, if you change that technique up a little bit, that's okay. If you find another brush that you're more comfortable with, like we used another brush earlier for skin and it works, it works just fine. But I'm really comfortable with that chalk sponge style brush. It really works well for me. So add a little more texture here, break up the spacing. And take my scattering up a little bit, there we go. That's looking good, and we'll get right here in this area, not too much. And right down here, where the light would kinda roll off. Here and let's go in here a little bit too. Got a couple folds there in the skin. And so we should have some highlights a little bit more, that's good. So, I really think the skin is radiant. It's really shining, but it's not too much. We still have the purple that we built off of earlier still showing through. The browns and reds look great. They look really good, and I like the way those worked out. And notice how I turn the direction of the brush. It keeps the work from looking repeated, so don't be afraid to turn the direction of the brush. Another reason why I like to keep the brush palette open. Just a quick way to jump in and just change the direction and keep moving, right here in this area. I just want to flesh it out a little bit more, under the lip and the chin. A little bit more for texture there, there we go. And, so I have a collecting light, but not as much as the nose. The nose comes the furthest off. You saw what I did, I selected the area and just put a nice Gaussian blur there just to break it down some. So there we go, take a look and just keep rolling around. And I only have the opacity at 20. But to be honest with you, I'm pressing it somewhere between 7 and 10%. So, a worst case scenario, if I press down really hard, I'll hit twenty. I'm not even going half of that, I'm just dancing right over it. Let's go in here and work this out a little bit more, bring some more color, highlights into here and break that skin up again, adjusting the brush as needed. Bring some of that down here. There we go and right underneath. And this brush, the texture brush works so well, because it does so much for me. So I call it a texture burst because I took it from a chalk brush into to a texture brush. Now I'm painting on top of the eyelashes, but that's okay. I can go back and clean that up but it's not gonna make that much of a difference in this situation, unless we were zooming in specifically on the eye, then I'd have to work that out a lot more. So here we go. Yeah, just creating the form and the shape. And I still have almost full white, but I'm pressing so lightly that I'm not overtaking my yellow and my greens and the purples that I already put down, I'm just using it to complement the edges. Right in here again, here we go, and underneath. Just working the folds and creating the details. This is turning out pretty well, I'm happy with what this is doing. And get those little smile lines and creases. I don't want to go too hard because we have a younger subject. So there should be some, but not too much. All right, take a step back and look at it. I like the way the highlights are going, I'm pretty happy with the direction it is now. All right, so when we come back, what we'll do is, in the next video, we'll go ahead and check and make sure we have all of our solid lines on the outside. And that we're wrapping up the generic form, that we're kinda tapering everything and pulling this thing toward an end. We'll start to look for loose ends, and we'll start to make sure that everything is framed nicely. So, I'll see you in the next lesson.

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