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FREELessons: 15Length: 2.6 hours

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2.2 Using Brushes

In this part of the course, we're gonna talk about bringing in our highlights and combining them with the darker colors that we chose and the mid-tones that we were working with before. So we can use this example to think about skin and how skin reflects light. And it reflects light differently based on the color of the skin, based on the texture of the skin. So we want to keep that in mind. And it's pretty much one color with different values, different hues. And it builds up and we want to think about that as we're painting, that's the best thing you can do when you go into it. Find out what's the original color you wanna work from, and then you go from there. So we're gonna use this idea to start our highlights. Now it's time to start to add those highlights. So I'm just using a basic flat brush. And I'm just going to find the zones and areas where I want to add light. All right, so the pressure again is at 25. And to be honest, if this was a much slower tutorial or I had more time, which what I mean by that is, if I was going to spend six hours teaching this, I would probably have the opacity down to about seven or eight consistently. And really spend time and build up, but because obviously we don't have the type of time, we don't want to spend that type of time watching every stroke happens. We have it set at 25, and then I go in between 25 and 7, depending on what the area is. So you'll see me make these huge shapes that really don't, they're not as soft as I'd like them to be. But what I'll do is Gaussian blur them again, and just get the form down. So that you can see how the process actually goes, where I put the lights,how do I use my strokes? Things like that. So right here on the edge of the lip, and I know that's gonna be a highlight area. And right in between the nose and the lips. And then here, the gum line would be behind those lips, then right here. Above the eyebrow I'm gonna bring a little light into that area and underneath. And we'll really work the eyelid underneath, the eyelid and the underneath area later on. All right, the forehead in here, and bring a little bit of light into the ear. Let's just lay this down. And over here also, bring a little bit of light and we can paint ambient occlusion. But we'll create a fake ambient occlusion. We won't actually go in and paint. And that is when the light, if you have a thin piece of skin, the light will actually shine through the skin. Sometimes if you look just right you can see it. So this area here, let's focus on the jawline. We're gonna start to bring the light here, just like in this photograph. You can see how the light wraps around the jawline, and we get a little bit of bounce light. So we're gonna to start to create that right down here. And we won't do the ambient here because that's a much thicker area. But the ears should get a significant amount of light. So I'm going to use this to wrap around to start to form and shape the head, face. Pull out, pull back in, constantly checking my macro and my micro. Zoom in, zoom out, making sure that everything is balanced. That I didn't miss those areas where I want to bring in the light. And I just did a Gaussian blur, just help us get a nice easy blend And the good thing about this, I just switched to an airbrush now. The good thing about this is that it gives us, A nice transition in between colors. So I'll move a little faster so you guys can just see the outcome. And so we're mixing two techniques. We're using traditional just flat brush, and the airbrush. Then we go back and forth, bounce back and forth, bounce back and forth. Finding those areas where it's gonna be a lot of light, and I'm gonna start to build from there. Wrap around the nostril area. Because light would certainly wrap around there, there we go. And I'm using a light to help tell my story. To help tell the form. So, I'm carefully deciding what areas I want to put my highlights in. The highest levels of the face, that's where the light's gonna go. Moving over a little bit. And the cheek area, once again. And work underneath the chin, eventually. A little more light up top. Down at the bottom, to get that cheek. I want the smile, that cheek, the light to roll off. So and then we put a little more light underneath, because the eye actually protrudes out, so it's gonna get a little more light underneath at the top. There we go. Now let's roll this light down at the bottom where the chin is and let's get that crease too. Now it looks like a bit of an extreme of the highlights. But what we'll do is continue to blend it so it won't look so obvious. And we'll bring some colors in too to make sure that our work isn't getting flat. But I think we're all right, I don't think we have that problem right now. Bring a little more light in here, and just bring it underneath the nostril again. There we go. Take a step back. And just look at the face. Now let's go ahead and get a darker, darker red just a little bit. And let's work this area here because it's further away. So it should be darker, it's gonna be out of focus. So let's clean this up, and do the same thing over here. Balancing right over to the other side, making sure that we keep a nice clean balance. Now, this ear is more exposed to the light, so it shouldn't be as dark. It shouldn't have large shadow points, but we do want to bring that color in. There we go. Start to work the side of the face. I was worried about it getting a little too muddy so we're gonna use this to help solidify where the edge is. The further something is away, the darker it is. Wrap underneath here. Have to recapture the form because with all the blurs, we didn't have any crisp areas so everything is starting to look muddy. So we don't want that. Let's move this here. And let's do the same thing over here. And I'll always adjust my brush based on what I need. So I use the bracket sheet as I paint. Bracket right to make it bigger, bracket left to make it smaller. So in here I need obviously a smaller brush than I do at the edge of the face. Even underneath the nose, we need an even smaller brush to add those fine details. So when you think micro, think about a smaller brush to add details. When you think about macro, and I'll keep saying that throughout this entire course. I'll talk about macro and micro, reminding you to step back and look at your work. That's a big part of the process. And here, slowly going over those areas making sure that I'm not doing too much. Not really pushing, I don't need hard crease lines, I just need the shadowed area, the fold, to show. Make this area a little bit darker. And have this color, the dark color wrap around the chin again. Now I could Gaussian blur it and rework that again and make it even darker. But I think we're okay, I think we're doing all right. Just think the only issue we have is the colors are starting to get a little boring. So we have to start to consider our color zones in the face, and we'll talk about that in the next lesson. We're gonna start to consider the colors zones and how those will work for us. Just going back and making sure that those shadow lines are there, those skin folds are there. Here we go. There we go. Those looks good, that looks good. I'm happy with those lines. It's starting to form the shapes of everything. I'm happy with that. Can make a couple of adjustments, but I think we're heading in the right direction. Just touch this up a little bit more, and underneath. Taking a look, all right, so in the next lesson what we'll do is we'll come back and we'll start to add a little bit of color to break up the monotone, or the monotony of what we see in front of us.

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