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FREELessons: 15Length: 2.6 hours

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2.3 Creating the Folds

In this lesson, we will cover bringing in darker lines to create the folds and sections of the face. We will also begin to add color to our eye area, while building the folds and creating depth.

2.3 Creating the Folds

In this portion of the lesson, we're gonna talk about bringing in more color to support what we've already done, and to help make sure that our painting is still balanced, and it's not flat, and our colors are not monotone and boring. So let's go ahead and continue to push our details in. I want to grab that brown. I'm going to go a little bit darker now. And just start to, now notice I have a thin brush, let's just go ahead and make a new layer, make this dark3. And my brush is going to be thinner, which will give me a nice crisp line. We also leave the other colors we use for the edges down. We don't change those. And so we get a nice build up where it looks natural. There's a gradient pass from the first brown and the background to this new thinner line that we're bringing in. All right, so I'll go in and get a nice crisp edge, and we'll continue to work on bringing in other colors to help solidify that as far as the highlights and the reds in a moment, in a little while. All right, right here, this edge, I just wanna go ahead and get a nice clean crisp edge here. I have to fill that part in, see, right underneath here, bigger brush so that we'll have a better transition. And let's work that smile line area again. Little bit more of a crease here in the top area, wanna show the muscle and how it's folding the skins there. When we smile, that's what happens, and we'll work underneath the eye area. Create a deeper crease, little bit darker. So we have this brown. We have a little bit of red, and then we have the highlight that we put down earlier. So, we have just those three with a couple variations. But that's what we're going to use to get a nice solid direction for our painting. So, I'm gonna take this outside also, smaller brush, and start to build up the edges in the The shadowed area, Nice and strong on the outside. And then bounce back in and put a little color on the eyelid, and this makes it easier for us to add the highlights to the eyelid also. Because we make it a little bit darker, it's a thinner part of your skin, it's very thin, and it's folded. And the more you fold, just like your hand, you notice you get those dark lines. We're implementing that exact same idea to the eyelid because the eyelid open and close quite a bit. If it's gonna have a lot of creases, you're gonna have those dark lines. It's thinner skin, so it's going to reflect light differently. And so, we're able to kill two birds with one stone, as they say, all right. Let's go and work this neck area a little bit more. Nice solid lines there. And let's see. Grab a new color. Just bring in, probably time to bring in some more red, so let's get close to it, and we'll put the green underneath the eye. Now, if you look at the actual human eye, zoom in a little bit, you'll be able to see this, right here, right. You can see that the green is there. Now, if you haven't trained your eyes a little harder to see. But let's use the color picker and look at all the different colors that we get just from that area. So I can see the green. I can see the purples, the red, slight hints at it. And so, I want to bring those into my painting to help create the illusion of the same thing or something similar. All right, so, I'm gonna cancel. And we can go ahead and get into our painting and make that happen. All right, so let's zoom in. Let's get close to green. Here we go. Now, I'll make a new layer, and I'll gently put down the color right about in here and start to quickly move and help build those folds. There we go. Now, we're using an airbrush style. So, we're not getting a lot of texture, but it's just to establish the color. I want to establish the color in the fold, the skin, and how it moves right on top. And this could be also a good place to bring in some blues, violets, things like that. We'll do that a little bit later on. Slightly we'll bring in that color, but here we go. And I'm using this to help create those folds for the eyelids also underneath. And let's switch over to the other side, make sure that we have balance. And just start to work the muscle area of the eyelid where it controls the blink. Therefore, it's the strong area as opposed to the folded skin area which is pretty much weak without the muscle, right? It doesn't do very much. So this is what controls it so I'm gonna focus putting my color there. Now let's switch to our texture brush and start to break up that airbrush look and give us some skin texture. There we go. Let's move over here, just clean this area up and just bring it all around where I can incorporate it [INAUDIBLE]. Now I can see right now, too, that I'm getting a lot of browns, and so I'm gonna have to make some changes and bring in some reds even more, which is fine. So I'm gonna implement and bring in more colors. Make a new layer, we'll just call it red for now, and just slightly bring it in in those areas that we know we can use that color right in here. Mm-hm. And have the brush and the color wrap around the skin. Follow the direction right underneath here, essentially creating wrinkles and folds. This is pretty intense red that I'm using. But once I get it put down all over the place, it should look pretty good. It should work well right over here a little bit. So I'm using this red to show blood flow on the difference in the skin. There we go. And I might just end up turning the opacity layer down, because if I feel like it's too much, that's one way that we'll handle it. Once again, in and out, macro, micro, making sure if I'm zoomed in, everything looks good. If you zoom out, you realize, oh, that wasn't such a good idea. That's not working as well as I thought. So switch brushes, there we go. And I'm going to turn on my shape dynamic, my scattering, and my pen pressure. There we go. So we can get a little bit more of a texture brush as we talked about earlier. Let's start to lay that red down like a texture as opposed to just painting it down, meaning thinking about the skin having pores, different areas of the skin allowing more blood to come through. So if you're smiling, that's a little different than a part of your face that doesn't move as much. So we're looking for an opportunity to bring that in right here in the nose area, too. Right in the nose. All right, right back to the chin. Have it wrap around both sides. Right here. There we go. And in the crease. And so, just even implementing this red has really given us a good direction. So we've broken away from the monotony of the browns that we were using. Even though it was still within the same class, it makes sense, it's natural. Just looking for an opportunity to bring color in, and we'll take some extreme steps to bring color in, in a few lessons. But here's a good example, here's a good way to start off. Now, if you're working and you feel like this is really far off, it's not going in the direction that you'd like for to go in, that's okay. You continue to push, you continue to pull, continue to fight through it, don't give up on it. The biggest lesson that I can give you is that, in art, you're going to hit those walls. Things don't always work out the way that you want them to work out or the way that you see them in your head. But the payoff is, the more you practice, the better you get at getting the idea out of your head and onto paper or onto your computer screen. So even if you're failing, fight through it even if it doesn't look the way you want it to. Because I can certainly tell you I would like this to be a little bit more progressed at this point, but that's okay. You have those bumps in the road, but we keep traveling. So let's go ahead and move this around a little bit. When we come back, what we'll do is we'll start to blend this a little bit better. And we'll also start to add more color into our painting. We'll start to bring the bounce light into the painting to help solidify our design and our direction.

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