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FREELessons: 15Length: 2.6 hours

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2.8 Detailing the Eyes and Adding Folds

In this portion of the lesson, we're gonna cover our eyes, how to quickly place our eyes so that we can see our full painting in composition. And then we're gonna talk about adding our second layer of hard lines. Let's go ahead and get back to the project. Well let's go ahead and work on the eyes. I got a good base there, everything is pretty okay, pretty set up. So let's go ahead and just see what we're gonna do with these eyes. So that we can see what the painting looks like in its entirety as we move toward completion. So let's see, go ahead and figure out which layer I wanna work. Okay, I'll use this layer and I'm just using a lighter brown, and I'm using an airbrush. Now we can go back to the regular flat brush or the paint brush and really throw some hard lines down, but that's not the style I'm looking for here. I want something really soft and I want to do kind of an airbrush reflection of the lights being used for the shot, the photo or the shooting. All right, so let's go ahead and see. So I'm in a little bit. And do the same thing over here. And I have my opacity down very low. So you can see that I have to go over it again and again, but that's okay cuz like I said earlier, I'd rather build my way up than to jump too fast, so we're okay here. And I'll leave it dark at the top, To represent the shadow. And let's climb up a little bit. And start to bring the light in, right at the peak. And there's not a lot of complicated techniques here. It's just really however you would translate what you saw into this. So I'm just going off of how the light would possibly bounce off of the pupil here, and I'll keep digging in and jumping back and forth. Now if you do one well you could, in this case, just copy it over and paste it to the other side. That's totally economic in this situation. Because you're gonna have, and not always so, but in this case we do, because the eyes are straight on as opposed to looking to the left or looking to the right. So we should have similar reflections, but I'm just gonna go ahead and paint it in. So there's a rim light there, ring light and a couple other environmental lights. So I go ahead and drop the color in for them. Then jump to the other side and do the same thing. Just bouncing back and forth. Taking my time, making sure that this works. And I have a lot of brown in this area, so I'm gonna find a way to bring in a little gray and purple just to break it up, just to break it up. All right, there's a little of a hotter white, there we go. Then it's a ring light there so. I'll work this side also. There we go. Then do this here. Just pop in the lights. Reflect what we did in the other eye. Keep moving forward, there we go. And, yeah, so this is looking good. I'm happy with this, and now I can see that the painting is coming together. I am concerned with the area. It feels a little, still feels a little too flat in this area. So there are couple of things that we can do. I can go in and push my darks a little bit, But it extends beyond the pupil of the eye. It's probably the cornea, everything looks flat. So I added those grays earlier. But I don't think I did a good enough job. So what I'll have to do is go back and probably darken it up a little bit, bring a little bit more gray or color into it. And that way I won't have such a flat eye part, right here in this area. See, so let's go ahead and do that now. And just bring that in. Make a new layer just in case I get this wrong. That way I can just adjust it with the layer, and I don't have to worry about undoing or painting it over. I'll just go. Now I have a little bit more depth. And this maybe too hard, the gray is really hard right now, but. My concern was that there wasn't enough information, there wasn't enough depth. But I think right away we were able to deal with that, have that problem solved, so I was right in my assessment. Take a step back, yeah, that's what it was. So let's do it over here too. Let's push the grays in to help with the shaping of the eye. And right underneath there, there we go. So, that's much better. And I switched that layer to multiply then turned it down a little bit, so I'll get a little more depth there. And use my brush again just to get a nice, even transition, so it won't be so hard like it was earlier before we did this step. It might be too much. I might have to go in and clean that up a little bit. But I'm not too concerned about it right now. Just jumping in and out, in and out, checking out to see if this is working. And I think it is, I think this is going well. I know I need to go ahead and start to bring my darks in. And not spend too much time trying to fix things that I could probably fix later on with just an airbrush, like in a final polish stage. Yeah, I think we're all right. Let me bring a little white into it to show we have a wet eye. It's not dry, it's not flat. So, just like we do with the gums. It's the same thing, it's nothing different. I just wanna implement a couple spots here and there. There we go. Let's put one underneath here and here, and touch this light right here. Okay, all right. That might be too much but certainly don't have the problem with the browns that I had and everything before. So we solved that problem. All right, next let's just go ahead and start to bring in our hard lines, here we go. So I'm gonna start to paint the nostrils first and start to drop those heavy colors in. Now even though this is pretty dark, this is fairly dark, I still haven't gone to black. This is a dark brown and it's more on the gray side than it is black. So it's really just a dark, dusty brown. And I wanna use that to start to build the shape, the full shape and the outline of our painting. And I like to start off with the nose area for this part. So I can see if it was a focal point how heavy my darks would be. So I'm gonna try to stay as thin as possible and keep it as clean as possible and just use it to shape and form. Now this is a really dark brown. I could bring more color in but I have so much of that in the other places that I think now I have to make that commitment and just bring those darks in. So, let's see, come up a little bit more. There we go. And my opacity is 27 and my flow is 83, so I'm still not working at 100. I stay away from blacks and whites 100%. And I try not to work very often with my opacity higher than 50% almost never unless I'm really trying to do a cleanup job or push something in a new direction really quickly. But I'll try to stay low. My flow varies depending on what I'm painting. And take a step back. And wanna know if that feels too dark. I don't think it does, I think this is a good place. So I'm gonna just go ahead and create a nice blend, there we go. Here and let's go underneath. Little bit of a shadow to show the clipping of the nostril as it folds over. And we'll start to push those edges again. So the brown underneath makes it a lot easier and, oh by the way, this time my brush is thinner. So the dark lines shouldn't be as wide as the red dark lines or the brown dark lines that we were using before. That will help me create the illusion of a natural depth and things will look in place. Let's go ahead and bring this brown underneath again. Nice and soft just to give me a little bit more of a shadow. Come underneath here, right here on the nose. There we go. And so I have a lighter color, so I'm using a bigger brush. Work this lip edge again. There we go. And then right down the middle. And I keep jumping in and out because I just wanna check for balance. I wanna make sure that everything is in harmony. One area isn't pushed the other one is. I tell you, I keep saying that, because that can make a project a lot harder if you do it that way. So. Just going back and touching this area. Not exactly happy with it, but I think we're all right for the nose area here. And I start off here because, as the nose goes, so goes everything else as far as putting the lines down, so, but I think we're all right in that area. Let's go ahead and just finish off this smile crease here. There we go. Now go and touch the lips up on the edge also. Just take a step back and look at it again. Making sure that everything is going well. And so I'll keep going in and out, because the closer I get toward the end, the more important it's gonna be to make sure that everything is balance. There is no point in, this is not the place where I wanna hurry and get done. This is the place where I want to start to move to the micro and make sure that everything is being done the right way. Everything is being done the right way, so. Zoom in on the chin and get a nice curve right there with our shadow. And that's really harsh, let me undo really quick and turn that down some. There we go, creating a nice landing for the bounce light. And let's work this edge over here. There we go. Now I'm only at 7%, so I get a nice subtle line here. It's not too hard. It's enough that we can see what's happening, and it's giving us that crisp edge. And so eventually we'll go, by the way, we'll go and clean up the places that I miss or that run over. But I like a little spillage, because it gives me a soft edge. And visually I can look at it and see if the direction I'm going is good or not, it helps me out. I don't want everything so clean while I'm working. I like for things to be a little bit messy. And loose, because I really don't wanna worry about becoming too tight so early in a project. I leave room for what we call happy accidents. Maybe I do something different, new. I have room to try it because I'm not trying to push it to final too early. So just building those crease in the eyes, where we would have crow's feet, the folds underneath. There we go. And just take a little bit of that down. Look at this other side, I wanna bring some of that dark color in, even though that's the more exposed side, we're gonna try to keep it balanced. We're ignoring the hat for now. I can always come in and do a shadow layer for the hat, which would be fairly easy if I wanted to paint the hat. So this is turning out well, I think it's nice and balanced. I think the skin has turned out well. Let me just touch the ears up a little bit. We're gonna come back and we're gonna continue to push the painting. We'll go over the skin again and start to add textures. Making sure that we don't have any broken areas, any flat areas, and we'll go from there.

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