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2.6 Lips and Teeth

Now in this portion of the tutorial, we're gonna talk about how to paint the lips and then we're gonna advance to painting the teeth. I'm gonna go through both fairly quickly, but you'll be able to grab the idea of the techniques you used to create them. Let's go ahead and get to it. Let's grab the colors for the lips now. Let's see, I'm gonna slide over and get a new brush, a new texture brush first, and we'll start off with the darker of the two. Turn this up a little bit, so I can move quickly, and we don't have to be so careful in this part because, one, it's a different type of material like a lips and skin have a lot in common but it's a little bit different. So we can throw the paint down, we can put it down more easily. And we'll kinda create this in three steps. There we go, lips are fine. So the next thing we're gonna do is just zoom in a little bit and go darker. So I won't grab the darker color that we have there already, I'll just use a color palette. And what I wanna do is create the second tier of the lip. So it depends on the person and the ethnicity, the way that the lips are shaped. But, for the most part, everything's pretty similar. Either they're smaller or they're gonna be bigger. And so what's in the center is going to be the part that gets the quote unquote wet look, and the thing that is the furthest out, the outer part of the lip, doesn't get it as much. We wanna quickly create the creases in the lips because lips move so much they have a lot of folds, and if you've ever taken an opportunity to really look at lips, like for example, here are a couple. Now when we look from left to right, you can see that all four pictures are different, but they all have similarities. The top lip usually has less color than the bottom lip. The edge of the lip usually is less colorful than the middle for both lips, and so you know that you gonna have the crease, the curves right in the middle, and then you see the folds, and the wrinkles in the lips. But now, on the last one in the far right on the bottom, we have the wet look where the lips look like they have some type of sheen. Lip gloss or something on and we can see how the light is reflecting off of the lips, and that's a little bit more what we're going to so we're gonna cheat just to have an idea of where it is we wanna go. But, we know what we're doing, all right, so let's get back to this. And create the difference underneath, now fairly thin lips here, but we can still do what it is we wanna do, so, and I'll leave this part lighter and take this, make a little darker right here on the edge. Now, I could go in and blur that, too. Blur the end of it. But I think if we paint it in this manner, we'll solve that problem we wanna have to. So I just wanna create a little texture, how the skin breaks. Because you don't have a perfect line where your skin connects is actually very preferred. Broken quite a bit. There we go, and I'll go underneath, start to create a separation for the gum line and the lip here. This is looking pretty good. And just adding those folds again very gently. Adding them not in a rush to do it. There we go. And so I kind of created the illusion of the light areas and the dark areas already. So let's go and just push this a little bit more, zoom in, here we go. And I'm doing a little bit of the bounce light off of the teeth or off of the flash or whatever lighting source I would have here. I should get because the scanner she gets some type of light in an area, so we'll start to add that here. And this is one of the more interesting parts of a painting, and this is the thing you really get excited about because this is the part you can push, so. And doing any type of like glamour piece, you look for those opportunities to really, really polish your work, and you can't in most cases do it with everything, but sometimes you can. Sometimes you have a little bit of time, like I said earlier, and you can just kind of jump in, and so this is one of those things you wanna make time for. So the nose, the eyes, the lips, the teeth, sometimes you can do those things and really push it. So, now I'm changing the orientation of my brush so that everything doesn't go in the same direction, so you see that, in my brush palette, I'm just changing the direction manually. Now, there are ways to set up your pen. I don't use that way. I'm old school, I guess. I don't know. I've been doing it for awhile this way, so it works. It's not broke, so I'm not gonna fix it. Turn opacity down and bring a little bit of that color up higher. So, I started off dark and worked my way out of the dark color. And just bring that pink all the way across, and then bring the dark red in between, so we get a nice transition between the two. Not too hard, not too soft. A nice transition, so now I'm gonna go and get a little bit of that high pink. And turn this up some here. There we go. And just, there we go. Start to create those folds and cracks with the brush. Now, there are brushes that you can use specifically for this, but I always say, whenever I get a chance to teach, I always say, learn how to do it the hard way. That way when you get the brush, it'll make sense. And you still know how to do it, because if you happen to sit down at a studio and I give you a test, you wanna be able to do it and show them you know how to do it. Or what if the brush is discontinued, what if the software that you're using doesn't have that option, can you still paint? Do you still know how to create lips, or eyes, or whatever? If you understand the basics, yeah, you do. And so you just push forward. You can do this with chalk. Same technique with chalk. It'll work the exact same way. If you use acrylics, it'll work the exact same way. Oil is a brand new monster, but the idea is similar, all right. Oil is, yeah, a little bit different, but you can certainly use the technique. It just takes a little more time, little more effort. And you probably wouldn't be so micro with oil. So I take a step back, and this is looking pretty good. Now I wanna just dig in, and push, and bring a few more of those highlights in. Now we're not going as extreme as the one picture, but you get the idea. Certainly have a nice little gloss going. And we're creating the folds and so. See how I zoom in and I zoom out? I wanna make sure that what looks good up close looks good far away. And what looks good far away makes sense up close. Actually, the more important of the two is far away. How does it look far away? When I teach in schools, I'll often have students who get too carried away with the details, and they don't focus on the overall picture. And sometimes, that can work, but most times it doesn't work out well. If I step back and things don't look well, it probably isn't a good piece. But you do have those times where I could just say, hey, I really just wanna paint a mouth, and just paint a mouth, and spend as much time as I like getting a look that I like. There's nothing wrong with that. You don't lose any points for doing that. I wanna get a little bit more of a reflection down here. There we go. This is looking pretty good. Happy with it so far. Work this area just a little bit more. And then we can get ready to work on the gums and the teeth, and just kinda pull this all together. So, go underneath again with a darker line. Just to make sure it's clear where the lips end and where the gums will begin. I wanna bring that, so I just color pick by holding Alt+Down directly from the lips. I just wanna get a little darker color even still. Or this is a little bit more, let's go ahead and get the teeth going now. So, I'm gonna color sample. And I don't want the white. Contrary to popular belief, we don't start directly off with white. We want to have a bone yellow. So go ahead and zoom in, and just fill it in. I'm just using my flat brush. And I'm just wanna fill in the area with the teeth. And I like the fact that. If you have your flow down to about, in this case, 50%, even 30%, what you can do is each stroke will create a different color. And so that's how teeth look, right? It's not usually they're not one color. That's how you know someone has fake teeth, because you see one big blotch of white, or off white, and just looks weird. But we know that teeth are bones, and they have layers, and they have enamel, and they tear it down. My computer stuck for a second they caught up with me. There we go. So I want to implement that in my actual painting. So you'll see that I'll add a few more strokes on one area, and not as much. And even when I push my my tablet pen down, my screen pen down, I don't add as much pressure, and so sometimes you can obviously see it, and other times you can't. That's all right. So I go in and just touch that up a little bit more, and we're just zooming through this because all you really need to do is understand the idea of it. You don't have to get it right, so let's get the color of the gums. Color pick, and let's zoom in here. Make a new layer, just name it, and then just go in and just fill this really quickly so that we have something to build on. There we go. Right behind. And I have it just right underneath the teeth layer. So it's gonna be fairly easy to work and add to this. Shouldn't be too difficult at all. All right. So this is looking good. I need to bring some color into both the gums, and the teeth area. So let's work the gum area first. Go a little darker, and right here where the teeth connects, I'm gonna go with a darker layer. Too dark maybe, and take the opacity down, and just create that separation. There we go. And now what I just showed that is living tissue, it's not flat. It's gonna have its bevels, its ups, and its downs. So I wanna create that and just jump in and dig in and think about how teeth go into the skull, just slowly implement that into my painting, but I'm not telling too much of that story. Just enough that, visually, it's understandable. Here we go. This is a deeper part. So. That's looking good. I'm getting a little bit of depth. And sometimes I'll cheat. I'll add an indent where an indent doesn't go. But, I'm doing that to really push the idea of, this isn't a flat surface. This is bone, bone, tissue, and that the bone is coming out of the gums, the gum areas surrounding the bone, teeth in this case. So, let's go ahead and put a couple of the indents there and wrap around here. There we go. And now I already notice that the color of the gum is too flat. So we're going to have to bring a little bit darker, a darker color in, and I'll probably bring purple in, or dark red. But right now, let's just go ahead and get this area's gonna get a lot less light. It's further back. There we go, just bringing that red in. Show a blood flow. And now we don't have those flat gums. Let's go ahead and let's try a couple purples. Just a little bit. Now, sometimes it works, sometimes it doesn't, when we choose colors for things like this, but that's okay. So we can always just undo or turn that layer down and do it again. But I think we can make this work. I think we can make this work. This area here is probably the most difficult, because it's just too much purple. So now take a look, there we go. There we go. Now, I'll bring it a little darker. Yeah, I think that was just too light. But the reason why I wanna bring the color in is to show the blood flow, so it doesn't look too flat. Let's bring a little bit of that color into the lips. Especially when I'm unsure, you'll notice I'll go down to seven, and just build my way up if it makes sense. And in this case it does. It's gonna work. So I'll bring that purple in. And the purple gives me even more of a reflection. Here we go. Just taking my time to see if it works. To see if it's right, if it makes sense. And I really like that, really like that. I could have done that with the dark red but I don't think I would have gotten the same results. They would have felt heavier. This feels more like flesh. And so take a step back and look at it again. That area there's still a problem area for me, so I might have to go even darker, because there's just too much purple there. And it's something we'll figure out. You run into problems, you've got to solve them, and in this case, just a small small problem. It's not a major issue. Ends to now, I'll start to create those creases in the deeper areas. There we go. And I'm really happy with the direction of the mouth. So well. Now let's just put some highlights there because of the kind of skin it is. Let's turn this up some. There we go. Let's push it. And just start dropping those little off white areas. And that's what all you need to complete this tissue look, the gum look. Because certainly if you're taking pictures, you're going to get reflection there too. Slight, it's not gonna be a lot, but now, if you're doing a monster, you can really kind of go crazy here. But we're not, we're doing a person. And just a little bitty reflective dot to show saliva, to show the texture of the gum, the gum line, and just using it to enhance my actual painting. So this is one of those things like I said earlier you can really jump in, dig into, and have a good time just putting those details in, so. But you have to be careful make sure you're following form, make sure you're actually thinking about how this is created. And so I think we're at a good place. So, when we come back we're gonna continue to work with the face. It might touch the teeth a little bit more, but I think we're at a really good place. So, let's go ahead and come back and continue with our painting in the next video.

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