2.7 Detailing the Lips and Teeth
This is a continuation of the teeth and gums for our painting. We will be adding shadows to the teeth and details to the gums. We will then move to the eye area and begin painting the eyes and the eyelashes.
1.Introduction3 lessons, 19:07
2.Let's Start Painting11 lessons, 2:15:35
3.Conclusion1 lesson, 01:54
2.7 Detailing the Lips and Teeth
Continue to polish the teeth briefly and then we're gonna move into setting up the eyes, creating the eyelashes and adding a little bit more texture to our painting. Let's go ahead and get to it. So yeah, I figure I might as well get in here and clean up the gums a little bit quickly and just go ahead and add a few more highlights, here we go. Because before, we just touched it a little bit but I still felt that things felt flat. And the higher something is in this situation, the more light it's gonna attract and bounce off. So I wanted turn my opacity up to 67 instead of 20. I think we had it at 20 something before. And now I'm gonna go ahead and at the dark. Now, I thought it was important that I added this part to the teeth instead of just leaving them as is. And kind of moving on later, is that I'm not using black. And if you're a young artist and this is probably something new to you, you're just really getting into this type of painting. We don't use whites and we don't use blacks, I mentioned that before. But now, I'm using like a purple red, dark purple red and it works as a black simply because of the contrast. And you can see that it works well, so this is how you stay away from those dark colors. And even here, it looks almost black. It looks almost black when we use it, but it's clearly not. So just go ahead and zoom in and out. And just keep checking the teeth. And now, I'm starting to let them take form. Let's go ahead and get the right color. We're gonna give it some highlights now, just a few strokes here and there. Turn my flow up a little bit more. But I won't do the whole thing. I'll just get as this is obviously a little faster than actual work, but you'll see that I'm just hitting those highlighted areas. And I could actually bring some of the purple into the teeth from the light, the little bit of pink, red whatever but I'm not. I think this'll work just fine because it's concaved enough that I think the colors that we're using will work out just fine for it. So we talked about in the last video about building the enamel with the paint. So teeth are not one color and this is working out well. Just get the right areas, here we go. And that tooth looked like it was crossing over, so now if I put that highlight there, everything is in place. There we go. I'm just going back and touching up areas a little bit. Now I have the opacity pretty high, but that's okay. And that's just I'm ready to push. I'm ready to get into it and be done with this part. So I'm pretty confident of what I'm doing. And here we go. Turn the opacity down and just give a general generic white with the color. And this where we get those nice soft transitions into one whole palette of color. So I like the way that worked out. That worked out pretty well. So let's go ahead and wrap this up, do a little bit more darken the edges so we can certainly see the difference between the teeth and give us a little more depth. There we go, right there round that off, and this one too. This one was kinda the one I was worried about the most where it looked like it was crossing over. Now sometimes teeth are that way, but not in this case and not in this painting. So I think the mouth is looking pretty good. And we're ready to move on to something else. So let's deal with the eyes. I have some placeholders there but we're gonna get rid of those, there we go. And we'll start over. I just used that earlier, I was using turn the teeth often. I'll just use this and I'll start off by building the eyes, and so I just wanna get some color put down and I'll use a fly brush. And as I put the color down, let's go ahead and turn this up some. Still too low. There we go. I wanna use it to see what this looks like collectively. And I mentioned this earlier, I don't wanna work in a vacuum. I wanna bounce around and make sure that the whole entire picture is coming together well instead of, well the nose area looks good, the ears looks good, the sides of the face look good. I want to think about, does it as a painting look good all together? So I go ahead and add a little bit of that gray purple toward the edges. There we go. Both sides, let's drag this in. There we go. So we have the base down. Yep. That's good, all right. And eye size look fine. Let's turn this layer down. And let's go ahead and start to put the pupils. I wanna go ahead and start to add the color there. So I'll just name this Eye2. There we go. And he color's already ready, and I wanna turn this up because I know I just wanna put the color in. So let's go ahead and just paint that on. It's pretty simple. There's quite a few ways that you could paint eyes but in this case, we don't have to get too complex. One, we need a placeholder to start off. Here we go, nice and solid. And as I'm painting, I'm kinda bouncing my eyes around and say, does this look like it fits? And I think we're okay. So I try to follow the drawing that I have, but sometimes in my rush to get the pencil work down, I may be a little bit off. So I wanna make sure visually that it looks good, it looks like it makes sense. Here we go, clean this top up here. And we can go ahead and turn it down a little bit darker. And let's just add a center point here. And the same thing on the other side, just a center point there. Then we'll turn this back up. And just kinda measure how this looks within the eye. And go around the edges here. Darken it up a little bit. Same thing on the other side just cleaning it out, making sure visually it makes sense. Take a step back. And I feel like this is good, we're all right. And so let's go ahead and turn this layer back up. And notice I keep zooming in and out, in and out. I don't wanna just get lost in that one area, I wanna see how it looks collectively. So let's go ahead and I'm gonna add the under color of the eyelids and there we go. The inside areas of the eyes, right here where the tear duct would be and right here on top of the lid. There we go. So let's go ahead and just put that everywhere, it goes really quick. And we can do some tricks and really push that and make it wet but because of the painting, we don't need to as much. Here, it won't be important. We're going to really spend that time on just getting the eyelash bases down. And making sure that the body of it makes sense and that it looks good. There we go, so over here in this corner also. And this is good, makes sense visually. I'm okay with that. So now, we have just a honey brown. And let's go ahead and put that in. And we'll use this as a filler for right now. I'll probably come back and repaint the eyes, so let's quickly just get this laid down. We'll use this as a map for everything else we need to do. So let's hop through here and add a little bit more of a highlight. So you'll see, I'm climbing my color chart once again. And just go add it over here. And just thinking about where the lights would be in the scene and how the pupil would glare, the reflect would show. So put some hot spots there, and we're gonna do a light ring there. So if you're familiar with photography, that's where we place a light ring. So we're okay here. Now we can jump to the eyelashes and get those cleaned up. So let's go ahead and start to put these eyelashes down, really quickly get them there. And the reason why I wanna do it quickly, to find out what style is gonna work. Do have to do it just like the picture or can I exaggerate? And I want to exaggerate a little bit. Like I wanna make them a little thicker and a little fuller than what they would normally be in a picture because eyelashes are very thin. But it's certainly in a painting or a caricature or anything like that, it's important because it helps the eyes, it helps set the eyes in place and it's certainly a sign of beauty. Now, a lot of people when they paint the eyelashes, they paint them like they think they are as opposed to how they actually come out of the skin. And so you'll see that I'm paint them like wild hairs because that's really what they are. And then collectively, like if you put mascara on and you push them together and they get pretty dark. So that eye change, that's a temporary eye just a placeholder until I get back in and settle it. I just need to figure out how I'm gonna put this. How I'm gonna set the eyelashes up. So it's looking pretty good, here. I think I'm ready to go darker, so I start off with a nice chestnut brown or I can use a red brown and then I just build from there. So when I start to paint over it, the strokes I miss become shadows or they become shading. And so it gives it depth but once again, I still don't go black I keep it pretty brown. I keep that color in it because black here would be very heavy. If I wanted to do a painting that had heavy mascara or heavy color on eyelashes then I could really go in and push it. But this is really more of a natural look. So I just wanna bounce around and connect those eyelashes and push them in groups, and so as I pull back this looks really good. So it's heading in the way that I'd like for it to go, so I'm happy with it. And just go over here and push a little bit. A little darker, there we go. Little growth spot, so this is the root of the hair where it would come out, so I wanna add a little bit of detail to that. Now I can take an airbrush and go over and push the color again. I could bring the mascara in that way too. But I think what I'd rather do is bring a texture brush and start to build on texture. So let's go here, and let's move around a little bit. Get a good look at it. And I'm gonna go with my texture brush. That's too heavy, so let's make those adjustments. And still Undo. Don't like that one either. So let's go ahead and just make those changes. Go to Scattering, and let's go and move that a little bit, take the opacity down and we'll make, let's see which layer that is now, we'll make a new one. There we go. So we can start to build the eyelid texture a little bit more. So we did that a while ago. A few videos ago we did that. And now we wanna push it a little bit and bring some more texture and more color in. Take this down, and the brush is a log of brush. So the good thing about painting digital is as opposed to painting traditionally, I would have to switch paintbrushes. But now, I can just make an adjustment on the fly and bring some of that texture in and break the skin up so it doesn't look too smooth and show a little blood flow. So I'm gonna bring that down here too, and it's mixing right in with the greens and the blues that we put in earlier. There we go, right here underneath. So it gives me, it enhances the folds that we're painting without going in and technically like painting them. Breaks the skin up. And we could do things. If you wanna try this, here's a little exercise. You can grab a skin texture or any type of texture that has like something that's similar to skin. And you can lay it down on top of your painting and continue to build from that. That's one way to do it. But we're really not gona focus on that in this lesson. I wanna focus more on the painting techniques and knowing how to create your own textures within skin. And like I said earlier, once you know how to do it the right way or a solid way, there's no right or wrong way then you can say, hey I can enhance this even more by trying out a texture or texture brush that's specifically for this. But in our case, we're doing all right. I think this is working out well. So I wanna break the skin up even more. So I just take the brush and just run around. I like that color, it's a complementary color to the scheme were ready using. So why not use it and bring a little bit of the red down here. There we go. And this is just simply to give it more of a skin texture. There we go. Underneath and underneath the nose and right back to the eyes, and I like the slide all around and check every angle or check every position to see if I feel like it's a complete piece, like it's working toward a complete piece and right now I think it is. Right now I'm pretty happy with the direction that's it's going, so when we come back we'll continue to push the color in the skin. Let's go in here, do this part. In the next video, I wanna do this here. Let's go ahead and add a little more color here before. But in the next video, what we'll do is we'll continue to bring the color in. And we'll start to work on the eyes. And look for areas we may have missed and areas we need to improve. There we go. This is really helping with the fold of the skins underneath the eyes and it's bring in that green in that we talked about before, just to show the difference in the skin and the blood circulation. And I feel like I'm losing my blues but I think we're all right, right now. I might have to go in and bring some more in, but I think we're doing all right. So when we come back in the next lesson, we'll continue with our painting.