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2.5 Complementing the Skin With Color

So now, we're gonna talk about complimenting the skin with color. In this lesson, we're gonna quickly grab some color, implement it into our painting, and use it to create an environment with a bounce light. Let's go ahead and get started. So I figured before we get to the lips, let's spend a little bit more time with the skin. So I'm gonna bring this purple in and use the same type of brush. And I like to start in the dark to see if the color's gonna complement or work with what I already have, so I can already tell that it's working out. And just make a little bounce light here underneath, show the edge of the nose. These are the areas I really like to work because this is the quickest way to see everything come to life. And so, work on the nose and just have the light roll across the form of the nose a little bit, and right here in the brow, and just start to make sure that I go everywhere with it evenly, not literally, I don't wanna cover the entire surface, but spreading out the colors so it makes sense. And let's go ahead and switch to another brush that will work as far as putting down texture, and let's go a little harsher. I want to go a little bit more purple, pink even, cuz that will turn out well in the skin. Make a new layer here. Here we go. And I'll just name this purple. A form of purple, purpelo. I just kind of that word up. That's all right. All right, so now I'm just dropping the color in and just seeing how it works, seeing how the skin reacts to it. And this is good. Now, I have a slight advantage, because I know how the scene was lit. I lit the scene. I took the picture. So, taking cues from the color the light actually worked. The color that I used, the paper that was used to bounce light off of. So, I'm little bit in the know when I'm taking advantage of that. And I really like how this purple is showing on the skin. The light is nice and soft, and it translates well. And you can see, we started out, probably after the third video, second video, we had flat color with a little bit of highlights raised the levels. But now, you can see bringing a color in is really making the skin come to life. And one of the reasons why I picked this kind of skin to do this tutorial on is because it's got pigment. It's gotta little bit of a natural color in it, and so we wanna expose it and push it even more. If I was painting someone who is, let's say, Irish with freckles, than I would take different cues on what color I wanted to implement. Probably, I would use the greens in the eye area little bit more. I would use something to compliment the red, because the red would be there. But the off white or not actual white, but that would be there. And so, the secret of my opinion is, well, what other colors are there? What are the colors can I push depending on the environment, depending on the creation? I have to come up with a combination, and that's obviously the most important thing. So I'm just gonna go ahead and adjust in this brush also I'm making it a little wider. And this brush is really good for texture and creating not so smooth but smooth enough skin, so. And if we were to zoom in, you'd see that it's adding a buildup of texture, and I really like that. So just using the scattering technique again. And I'm using little pressure in my brush. Now if you don't happen to have a Cintiq or Wacom, it's okay, you can still do it the regular way. Just make sure that you are making adjustments more frequently, that your turning your opacity down, that you turn your flow down when you have to. And if you look, I keep my flow pretty low. I'd rather have to do it twice than have to hit Undo. I don't like to turn the layers down too much. I will periodically, but I want to keep it somewhere low to start off with. So let's go ahead and make a new layer, I'm gonna make this highlight, too. And then, I'm just gonna push the color a little bit toward the white, so there we go. That's the natural red that was already there, and I'll just push it toward the white a little bit. Now, whenever you paint, you never, ever, ever use all white or all black. If you think you see that and you're not doing a black and white painting, it's an illusion. And even if you're doing a black and white painting, you'd hardly ever go to zero white or zero black, you'd always be some form of gray in between. So it's the same way with color. I never really have to get the actual color. I'd prefer to build those colors up based on the color zones, based on the skin texture, based on the idea that I'm trying to create. And so now, we're getting some nice textures with this brush. And we're getting that skin to shine, to show a little bit of the flash, a little bit of the light right here in the high point, which is the nose, and bring a little bit of that room light underneath. I'll cheat a little bit. But it gives it more of a fleshly tone when you do this, because light bounces off the skin, obviously. And we could talk about the layers of skin and how they work. But I think you guys can look at this and get the picture and understand. So let's go ahead and work this side of the face. Also, let's bring a little bit of that in here. Here we go. Bounce light right here on the highest levels of the lip and the chin. And now, you look at that chin that we were working on earlier, and you can see that it's starting to pop. It's starting to look very prominent, and the light is rolling off of it. And that's the look that I want. I can go a little deeper and can push it a little more. But certainly, it's moving in the right direction. This is looking pretty good. I'm happy with the direction that it's going. Just get over here and push the edge a little bit more. Take a step back and look at it, everything's looking pretty good. Couple areas I wanna touch up a little bit more. The neckline area here, bring a little bit of that color down stairs so that it translates across the entire image. And now, we're ready to move on to the lips.

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