Everyone in this video, I'm gonna go over painting a figure from reference and the reference images.
That was from m j random deviant art. So you can go check him out. He has a lot of Free.
You can go check him out. He has a lot of Free.
Um, stock images that people can use. So for this one, I'm going to be talking about a bunch of different things.
Also be talking about.
Uh.
Skin color.
Uh, for shortening overlapping shapes.
Um, you know a lot of different things that just kind of have to do with the human figure also.
Uh, so yeah, i'll go ahead and get started. Now, there are a lot of different ways to start.
This uh, you might wanna start with a line drawing. You might wanna start with shapes, just.
So it really just depends on the method that you enjoy. The most are the method that works for you.
The best.
I usually do line drawings like really loose sketches now because.
Um.
You know, for this one, I might do like a really loose line sketch.
And then mainly due shape. So i'll probably try and treat it kind of like I would about doing.
In wales. So first I'm gonna start off by just turning the canvas a little bit.
That way. I'm just not painting on Top of.
A um, a blank canvas.
I'm just gonna flood fill that a color is kind of like this color a little bit.
Um.
And I thought it was.
I guess this is kind of a little bit later. It doesn't really matter. I mean I can go and change the color.
But um.
You might start blocking in some of these colors a little bit. You know, maybe i'll go on.
Some different layer.
Was it being super lazy?
Are some images smaller? So it's not quite as lucky ended up having it like.
15000 pixels. So it's a little bit too big. Even a reference. I had that big.
What's going on? And kind of blocking in?
A few of the values and shapes in here.
The background. You know, obviously, I'm not really worried too much about.
All the folds and everything like that. Or even being too accurate with some of these colors are.
I'm basically just trying to get some sort of a ground on here so that I can uh.
Maybe use a few.
Textured brushes. I can get some cool brush strokes.
Kind of mixing them up a little bit.
I'm not gonna spend too long on this part.
Okay, that's probably good enough to just go ahead.
Okay, I'm gonna do a new layer.
Kind of blocking in the figure a little bit. So I can.
Some of the proportions down. So usually if I was doing this in oils, I would use like.
You have some sort of a number that's really watered down with a lot of Turkey.
Uh, oh, can't you be the same here?
And I do I would do a really loose um.
Line trying. It's not even like really a line drawing person.
It's more of like kind of marking landmarks looking.
Can I get the shape? Right? So I'm thinking of, you know, this area here on her shoulder and back.
You know, just trying to get some of those angles.
And um.
I tend to kind of make everything really blocky.
What I'm doing the block in which I guess kind of.
This feeling.
Um.
You know some of these aren't really matching up.
I guess I could probably do like a uh.
Great method.
Immediately too lazy to do good method. Although I probably should cause.
What is mine?
Proportions in the beginning, kind of messed up.
And then i'll end up having to.
Move stuff around.
So I'm kind of just doing like a contour drawing a little bit.
I can see my my stuff is getting way off. I'm getting way too big.
It's not going to fit on here.
OK, this is super loose. You know, I'm not really. And.
You know the different details in here.
Basically just trying to make sure that it fits. And you know some of the size of relationships are.
And correct like, you know, trying to get some of this negative space in here, like this triangle.
Man.
You need to have a little bit negative space here.
You know, kind of block in this form of your leg coming over.
And the other one comes out. So there's another little negative space here at all.
And you also want to draw your shapes. What I'm talking about.
Is so this lady right here, this front leg.
Is obscuring the light behind it.
And so when you drop your ships and you're gonna draw this other leg.
Uh, you don't draw it here and then stop. And then trying to make sure that, you know you come out on the right side.
Uh, you wanna draw through your shape. So you drove through this other leg. So you can kind of lineup.
When things are obviously the lower legs in front of it. So you can't even really see it. So.
Uh, it might actually work better if I use the example on her lower leg, cause this one.
And it does match up. So if you're just trying to draw it without drawing through your shape, you might draw this.
Part. And then when you come down here to draw the ankle and foot, you might draw it like down here.
And then they don't match up. You know, they don't line up, or maybe you might draw it here, flip it right there.
Imagine the cat here. And then.
Can you draw the ink on the foot? So now when you read this.
Uh, and going in the wrong way. So if you erase this part here, uh.
This way will match up on either side. So that's what I'm talking about my future.
How do you shape? Good?
Nice to go back to my line drawing here.
And so we're gonna drive through my shape. So, um, actually.
The the bottom leg is the one that really matters, because you can't see the Top part.
So try and you know get the.
The space between you know this angle on her leg here.
I guess it's maybe a little bit smaller than what I have. So then you're gonna drop the years.
A little bit. So you can get this bag on the opposite side.
Then you have this label here. So I can go on a race that and that kind of magic.
The mind is still we.
Too big. And of course, I drew on the wrong layer down.
OK, fit.
Flipping.
If I can. If I have any other major errors.
So this game is kind of over here.
I love you, China. You know I can always move things around.
If I need to. But that's kind of basic.
Ship. I mean, maybe her legs might be a little short.
Bullshit. I mean.
Uh, you know, just for fun to kind of compare.
Uh, the proportions. You can see that um, my upper body is actually fairly close.
This part is almost spot on.
Like these angles. And then you can see the arm is getting off here. And then tom and then work really.
Just get messed up on the legs. So if you can't come back here.
Yeah, you can see my leg. And the front leg is way too long. Uh, some of the tanks.
So messed up like everything is kind of leaning this way a little bit too much. You know this army.
You know, this armies.
Angle more in this way.
Um, yeah, it probably doesn't matter too much.
Um, maybe I wanna.
Make this a little smaller. You know, just because it might be too big. And what kind of weird?
Okay, with that. And maybe a little bit more.
Again, you know, I can move these things around as I'm doing the painting. If something looks really weird.
Like the angle of the arm doesn't really matter too much.
I mean, maybe i'll just go ahead and with that.
And just distort it. You can pull it back this way.
All right. So that's kind of just the initial block in that I would do if I was working in oils.
Then I would start.
Uh, just by painting in shape and color, which is what I'm gonna do now.
Um, maybe i'll leave it on a different layer, just in case you need to go back to it.
Right? I'm gonna start off by blocking in the base color.
Actually, I might do it under.
So why not?
I just for the first couple steps.
And we can.
Sure. Getting stuck in the right area.
Right now, I'm not really worried about different colors or different values on you.
A base color.
I'm not really worried about staying in the lines to much either.
Maybe a block in. So these dark areas for the hair.
What do you like?
Red color for the year.
I noticed a trend block in some other colors and values in here.
You know now that I have sort of a base color.
And probably pretty soon I switched to painting on Top of the line art as well.
I don't wanna.
That really hard edge line there.
Shadows and.
Actually the shadow, I think I will put on a layer below everything.
You don't have to worry about painting. On Top of my figure.
This is my negative space is a lot smaller.
The one reference you might need. Fix them that a little bit later on.
You can lock transparency now.
So they don't have to paint outside the lines.
Can you do that by hitting the little checkerboard thing over here?
Notice that I'm staying tuned out really far. You know that way I can uh see the whole thing at one time.
And also it can save time and not in their new darling stuff. Too much.
Not in their new darling stuff. Too much.
Okay. Now I'm going to go on Top of everything and started blocking. And like some of the uh.
It is the largest super loose.
There's actually a lot more yellow than what I have on the leg over here.
You know the one I'm changing value.
You know I want to change the hue as well. That's one of the things I notice people don't do a lot when they're paying.
Then I can just uh, do this. Instead of doing this and this.
Even if you're just changing this a little bit, I think it still helps.
And then we can get some more color variation in here.
Do you see that line? The line is getting kinda weird because I'm painting in area.
I don't wanna.
To darken the multiply and drop the opacity.
I'm going to be getting rid of it anyway, but I don't want to have it.
Yes, even like the shadows in here, I want to make sure that the stable is saturated.
Um, you're doing shadows that are already saturated.
And I always did that too.
Before. So that's something i've always really.
China. Be aware of what I'm working on paintings and I don't want to make my shadows to disappear.
Over here on this arm can get a little more saturated.
It might be a little bit too much.
And when I started working on this a little bit more, i'll have to zoom in on. Otherwise I'm not gonna.
He hates me too small, but at least for the initial block in, I want to.
At least for the initial block in. I want to make sure that I stay tuned out.
I can always fix my edges and things later to us. You know, right now they're.
Maybe i'll switch to some other brushes in Canada.
Some other strokes in the air and textures.
I think I'm going to merge these for now.
Someone move some stuff around.
I think her torso needs to be a little bit longer.
So that we can make the arm a little longer.
Get more of that negative space I was talking about before.
So when you come in James, that I copy that part.
That way. I don't have to worry too much about filling in that extra spot.
So I can just go to the layer below.
And resell some of the stuff.
So this is where and.
Arm a little bit.
Persevere, maybe drop it.
A little lower. The more negative space.
So this needs to go back this way.
OK. That might be a little bit better.
It is kind of bugging me that I'm not dreaming.
Cause I'm not being very accurate with a lot of this stuff.
Time after the zoom in pretty soon.
And the other thing to do when you're doing studies like this, you know, you don't have to stay completely.
100%.
The reference you can exaggerate things and change things. You know.
It's an opportunity to make a better painting.
Like if there are some colors that you want to exaggerate or.
Maybe the pose or something. Or if there's like a tangent in the photo and you want to change that.
You know, I would go ahead and do it.
You know it's going to make a better painting.
Please join me and make some of them a little bit more saturated.
I mean, I kind of did that with the ear already.
A little bit more saturated.
You know, like this area here. And it seems a lot.
Uh, cooler.
Terms of color temperature. Maybe that makes it a little cooler in this area here is a little bit warmer.
I just blocked them a little bit.
The hair can definitely go pretty loose.
I think that's one of the edge control things that people.
I usually have trouble with you later. Really hard edge. And they wanna.
Do you want to try and grab it a little bit?
Do you think that tom is still really bent?
Looking back.
Better.
Cheapest.
Skin color. Pick that shadow. Try not to.
And I will try not to kill a pig too much.
Just because you want to train yourself to.
The correct colors and values.
Sometimes they do it at the same time. See, this is our.
Pretty close. I don't need to copy it too much.
Now the other thing too, about color pigment photos that i've mentioned in other videos. Sometimes when you zoom in.
You know you're going to pick something that you might not really see if you're in doubt.
But this one is pretty high rise image that you don't really get too much of it. But if you can.
But if you kind of look in here.
Um, there are some areas that are a little bit of a different color, or maybe they're really dark.
But you don't really notice when you zoom out. Pick something. Uh, you might.
Uh, you might pick something, uh, you know, like a color that you didn't really see before. And then.
You like what's going on? Like why is it that color?
Be aware of when you're working on stuff from a photo.
This way is probably a little bit wider.
Ah.
My legs, my beer!
I mean, there's a little bit of a wrong angle.
I think they kind of split up a little bit more.
And then maybe they might go on longer.
Yeah.
Routine that way and maybe make a little longer.
See how that looks.
You need to bring them down again. Because I'm losing that negative space right there.
Kind of went back and forth between us.
Yeah. So there's this other shortcut that alexandria always uses when he is doing.
Studies where you can zoom in and pan on two images at the same time, which is really.
Which is really cool.
So, um, let me see if I can remember how to do it.
Okay, yeah. So ship in space.
And then if you click and drag.
It'll drag both images at the same time. If you do.
Oh, shit in space.
Click and drag. You can zoom in and out on both images at the same time. So if I want to.
And then.
Drag.
And they'll be in the same spot. But I mean, uh, they don't fit on my screen very well.
So, um.
That might be a little bit of a problem.
Probably, yes. If you're drawing it off, like it's not in the same spot. I guess they call.
Cause it kind of has to be in the same spot as the reference. And since mine is off a little bit.
Um, you know they're not exactly in the same spot. I don't think.
Because I just moved it. So now it's not in the same area. But yeah, that's kind of cool.
I'm not sure if there is one that can flip the same time tonight. But I mean.
Doesn't take that wonderful book. And it takes like a second. So.
A little bit of a shortcut there for you and you.
Chinese women.
For some reason, it moves my.
Other image?
No way.
Now I got to kind of move it back. Zoom in again.
Move it.
So that's kind of weird. I think that's the other reason why it's always off now, because it kind of moves them around.
I don't see how it and like i'll put it back here and then it moves it.
Of course, now I'm not doing it. Okay. So one thing that I didn't notice.
Is the the angle of your butt over here. Like you can see that it's kind of like this.
And you can see that it's kind of like this angle and mine is almost straight. So I need to.
This back one up a little bit more. That's probably why I'm also having trouble.
That's probably why I'm also having trouble getting some of these areas to kind of line up correctly.
I need to go up here a little bit more.
In this way.
Good man.
And now one might be too much.
We also don't have.
Uh, this part of her leg.
They still look like minor. Uh, way too short.
The move is over. And it's like them.
It was over. So she has about that much.
Take care.
And the cat goes back over this way.
Can I have more of that negative space?
Here a little bit better. There's a little bit of bounce.
Right here, too. It's a little bit more saturated. Yeah.
And that so I think I need to make some of the stuff a little bit darker.
Description here.
But yeah, bounce light is another.
Trying to really pay attention to that, really help make your painting look better. And.
And I think people tend to forget about bounce light a lot.
It's one of the things that we see all the time. But we don't really know.
Just like we don't probably think, oh, look at that bounce light. We just think, oh, you know, this man.
Yeah, but once you really start, um, consciously thinking about.
That's why you see it all over the place.
OK. I keep trying. I keep forgetting.
Panel at once and.
Always forget to do it now, which is one of the problems learning a new thing.
Learning a new thing.
Don't forget to use it.
I'm just trying to fix some way.
A little bit so that they line up a little bit better.
So that control is another tricky thing that people always have trouble with. And it's one of those things that take.
Near the practice of knowing when to do it and how to do it. Um, you know.
Not the best person with edge control. So, um.
I mean my stuff isn't that great when it comes to your control. But you know some of the areas where you can.
System and control. Uh, what I'm talking about are hard and soft edges. So like.
Something before. Like the hair can usually be a lot softer. You know, you don't have to have a lot of hard edges. You can look.
To some of your edges a little bit. And also when you're rendering some of the anatomy and muscles.
So whenever you get to an area where you have uh, something like.
So whenever it comes back into the light, which is like right here in this little area.
Between the dark and the light. You can have a harder edge there. And then.
Me doing this. Oops. And then you can see how.
I have a dog and the softer edge. So you have some soft edges here.
Then you have a hard edge here. So whenever there's that transition, that's a good.
I mean, it's kind of something here. But I mean there are a lot more subtle. And there is a good one here.
Where the shadow meets light area. So that's another spot where you can have a hard edge.
Uh, maybe like some of the ones over here, too. So I'm gonna go and paint this.
So we'll get some of these colors here.
And then go a little darker with this. So we'll start off with like a heart.
So this is the transition here between these two.
And then when you get up here, you can have and that software transition.
And then it might be a little bit more differentiated. Well, given district.
That a little bit harder edge. And then feather it out as it kind of gets to some.
In other areas. So they have an area with some harder ones of stoppages.
Maybe like here to meet me in the armpit. You know, like some of the shadows.
So you could have a harder edge there.
It's a lot softer. Make it a little bit darker.
And make sure that your shadows actually follow the form.
Of whatever it is they're being cast on. So you can see how it can it go like this. And then.
Go over these muscles here. You know, it's not just like a straight line.
Nine, you actually have some shape to it. And that shape will help define.
Born without you having to actually paint the form. Same over here with this cat shadow.
To see how.
And when it goes down, and then it goes back out with the ankle, then goes back down again.
So that little area, you know, shows a lot of form, even though you don't really have to render too much of this.
And color picking and eating is being lazy.
Trying to paint this faster husband.
Do you want to know?
Like a lot of stuff in here. You probably could go a lot more pink and a lot more strategy.
I might be going a little bit too wide and be saturated. You can see how.
You know this area here is a lot warmer. And then you get to this area and it's a lot more people.
And a lot cooler. You know, even though it is still an orange, did you see all these years?
You always hear still orange, but there you go here. And you can see how there are a lot more strict.
And there more to the right over here. So you can just take the slider and move it over.
To get the saturation colors.
And then slowly move it back over to the right. As we get over here to get.
That's why I'm kind of talking about what I'm talking about. Um, you know, colour variation.
Getting some of those other colors.
Sure.
This one.
I'm probably going to move these separately. Easier for me.
Now I can see like, you know, some of these forms here that I didn't know.
So you get to pick it up too far, like this one.
Like this one.
Over a little bit more.
So these are the shadows in here.
So here we can see some of these.
There is no light.
And I kind of started with a harder edge up here and then faded out as I get down here.
To go and race out some of the stuff.
Down a little bit more. It goes in and comes back out.
It's a good thing about keeping these on layers. So you can just erase them out. That having a mess at the back.
First time here. I think I might make that.
Maybe a little more saturated.
Man, it's like a little bit of bounce light in here. Amen.
I can kind of see that this is a little bit lighter and more defected from the.
O'clock there.
Let me add a little bit of that. And I can just do saturate the color here.
Make it a little bit more like the sheet.
Of course, now my uh.
The shadows need to go darker.
People need to get pretty dark.
Especially like this one in the corner.
You see my leg was okay and still does.
We're not too far.
You can see where I was painting.
It would be like a little bit more negative space.
Here.
In there.
That she actually has like some of these warmer colors too.
Go back to the body. I'm just gonna.
On Top of this, I'm gonna make that quite a bit darker.
Even this area over here, like where it gets here. Can I get a little bit more?
Happy new year. And here I got a little bit too high.
Soften it up a little bit more.
So I think I'm gonna.
Accent is a little bit darker.
A little bit more saturated, you know kind of like the reference here.
The color pink in color. A few things.
Against the transit time.
And copies in case. I want to go back to it and emerge that down.
Again, I wanna fix many shapes a little bit.
And I think going in and cleaning up your edges is important, too. That's another thing that I feel.
They don't always spend too much time on like they kind of leave the edges like really jagged.
Messy.
You don't have to leave them super clean.
Go ahead. You know, I always clean them up a little bit in some spots.
As long as you're painting doesn't look messy and unfinished.
There are some people that are really good about having loose edges.
Uh, but yet they're paintings, books finished.
Uh, I'm not one of those people. I wish I could do that.
All right. So maybe for this back part, I will go a little bit later.
And more like, wait.
Now let's see what the color picker says.
I think that.
That part of the wedding is to be a little bit bigger.
Actually, you know, I'm gonna go ahead and make it a little bit lighter than the saturated.
My form starting to flatten a little bit.
Make some of the darker.
This part. I get a little darker on Saturday, too. So this is another area where you can have.
Little bit more of a harder edge, I think.
You can transition into this.
Lake area.
Unless you have a harder edge.
Why are you here too? Is a little bit more dissatisfied?
In the back area is warmer.
On the elbow here needs.
To curb down more than it needs to be a lot darker as it's changing planes.
As a changing planes. I need to go darker.
And then I never sit down and erasing stuff out.
So we can have another one of those areas. We want to have some hard and soft edges.
So they can feed off.
Soccer is over here.
It seems like some of these areas here.
This is harder than soft edges.
This whole area on the shoulder dark.
Have a harder edge.
Over here.
Like a lot brighter on the shoulder.
More pink on his part.
Here kind of roles into the armpits.
When it comes out here, it starts to get lighter.
Maybe a little bit more saturated with some of these.
Let me go dark again with this.
That part of the leg.
Like the amount of rendering and refining you do is kind of a.
I mean, as long as you have the basic shape down, then you can kind of.
You know, render as much as you want, as long as you want.
A little bit darker. The shadow down here.
Preserve transparency again. So I can get these edges done.
Right? This area gets pretty saturated.
Even the dark areas appear. Light and saturated. Like this is actually lighter than.
Clean some of that up a little bit.
Darker shadows under the leg here.
Me too.
Doctor with this.
I think I made a pretty good point where I can go and start working on the face now.
I am trying to use that shortcut.
Had always kind of move one image over.
All right. I'm going to start a new layer again, just in case I mess up.
To read this stuff.
Some of my colors and values are a little bit too dark.
And um.
It's kind of the wrong color. So I need to go in and just start refining these colors a little bit more.
I think they're a lot lighter.
And probably not as saturated as I have here.
Let me start off by blocking in some of his hair.
Over here, I'm trying to break it up into different planes. So there's this white or brown.
Same here. And then it kind of shifts and turns down into the darker brown.
When you're painting here, you always want to make sure to, you know painted in these different planes and cars.
Group into different shapes. You know, when I go and try and paint every single strand of hair.
And I would also try and stay a little bit looser as well.
A lot of people tend to.
Have really hard edges. When they're painting here.
There is always a good spot where you can lose some of your edges a little bit. You have some soccer edges.
So you want to have some of these planes. And then you can start going in refining the shapes and colors a little bit more.
You know, maybe point out a few little strands of hair.
The same thing with the face. I'm going to break it up into these different planes. Like the forehead is one plane.
Then it shifts and turns.
Just give me another plane.
You know my ships are all kind of messed up on my blog. This thing.
60 ships.
And my shadow needs to be a lot darker.
I'm going down to the shadow layer and making these darker here.
And the cash shadows. Um.
Can show the cold weather here.
Without having to paint the folds in the light area.
You can just paint the cash. Ado, you can see it.
Also don't want the cash out to be too hard edged.
It's a little bit soft.
Right. So I'm actually gonna rotate the image when I paint his face, because.
Um, it's always kind of weird painting your face sideways.
It's just a lot easier.
You know, since we usually look at people from this angle.
I'm making another layer.
We'll start by painting. The shadow side. Usually start with the eyes as well.
And I'm trying to be pretty loose and a little bit more painterly with this.
I don't wanna get too bogged down in all the details.
I mean, right now it looks pretty messed up. And you know that's usually how paintings are. Whenever you start.
Them. And they always go through this really ugly phase. You just have to.
You just have to have confidence in yourself that it's going to look better in the end.
I mean, I always get really frustrated when I am working on a painting, because I have to go through the ugly phase.
And you know, it just makes me feel like my painting is crap. And I don't want to actually finish it off.
So I always end up having to go through that. Like every painting I do.
It can definitely be frustrating.
And I want to make sure that the shadows they saturate to.
I think i've broke the forehead into like three different planes. You know, there's that really light one.
Um, kind of on the side of her head. And then the little bit darker pink.
A little bit darker pink on the main part of the forehead. And then the shadow part.
Like all the area around her mouth is all really dark to make that a lot later.
Put my bitch.
And for some reason, it's a lot easier for me to paint faces that are going in this direction.
Good work.
Uh, whenever they're flipped it for some reason, I don't know why. It's just it's harder for me to.
Repeat.
In that direction.
Especially if I'm doing.
Physical drawings.
Like.
If I have to flip my image in painting face painting to the right. And for some reason I.
We have a lot more difficulty doing it in that direction.
Over here on the jaw. There are some of these.
Um, cooler, more detached eight colors.
You know that shadow under the nose is getting a little bit to disagree on how to fix this.
Anyone that knows, you know, it's getting to dark side to make it lighter.
I think there's a little bit too much space here on this side of our heads. I need to bring her hairline down a little bit more.
Around the hairline to try and leave that little bit softer. Maybe have.
A little bit like a cat shadow, just to make it look like.
Here is a pasted on.
It is another thing I see a lot of people doing this. They have this really hard edged.
Caroline, and it just kind of looks like the hair was pasted on.
Come on out there. You know what's really funny right now.
Happy new year.
The natural as well as I would also make sure that you leave that really saturated.
That's another area where people tend to just be like solid black and always makes it look like they have the dignity.
Do you see that? I'm kind of running out of room cause the head.
It's kind of a little bit too low an angle. There is a different angle than the reference, like the mouth.
Um.
Kind of barely fits in here. And I'm not going to be able to fit the chin and very well either.
So I have to go and move that.
My imagine.
It's good to look at your painting from different angles, because you can see your mistakes a lot more easily.
Of edge control. The corner of the mouth is always a really good area where you can have a softer.
After the lips, I would make sure that you don't do too hard and enter their either at another.
In another area where I see a lot of people doing like really sharp art.
Lips. And again, they look kind of pasted on kind of like here. Whenever they make them.
Whenever they make it really hard edged.
So like the sharpest edges I would have would be.
You know where the mouth is, like where the lips come together in a dark area.
But the actual contour outside of the lips and make sure that there is a lot softer.
I'm gonna shove the chin in here, but running out of room.
A little bit lighter, a little bit more saturated with the shadow side.
You have to make the cache shadow darker.
What kind of blending together right now?
Yeah, this this part here is working harder edge with the lips that was talking about.
I think my proportions got off a little bit on this basis. I feel like the length of her nose.
This might be a little bit short.
And some of the angles are a little bit off, like.
The angle, like the eyes.
You can start blocking this year, too.
Got a little bit small. I need to make a whole lot bigger.
A year ago.
A lot more saturated. And you can tell the reference. There is a lot more than red century.
So there are kind of lineup.
Where the bottom of the year winds up on the face.
And.
You know you can see that it's totally does not line up.
Correctly.
I'm kind of trying to compare some of my angles. Like the angle of the arm is often the same.
This kind of screwing up where these things should be going.
I'm copying my player. And I'm gonna move this head.
Actually, you know, I think I'm gonna move.
In the arm in the head. At the same time.
I need to move up more.
Promotion rotated.
And rotate his hand.
I need to go blow another layer on a reef it out.
These are all in different layers.
And I guess I probably should have rotated her face to a little bit, I think.
My angle is a little bit off.
Right now I have some more room to put her chin in here.
You can also get that eager in there. Now, too.
It's kind of like down to.
In the middle of her nose.
Make the shadows darker, too.
Now I can line up that year to see where the bottom part lands.
That means I gotta move the hair over two.
You can just break it up into these big shapes.
And don't worry about individual strands of hair right now.
You know what? I'm looking at this.
A closer.
Now I'm seeing a lot of things that are kind of off a little bit. You know, I think her head might be getting a little too well.
I like the angle of the arm is a little different. Uh. Same with like the back, you know the.
It seems like the back, you know, this part right here.
Kind of goes in and comes back out.
You know, mine is up way too high. So I mean there's a lot of things that I have to go and kind of move around.
Especially like the face over here.
Emergence down.
Carpet.
Because I want to go back to it and I screw up or something.
All right. So I think I need to move some of the stuff.
Trying to figure out exactly what I want to grab.
Kisses.
I need to move this way slightly.
Okay. Now I can go and start fixing some of these other things.
I think this needs to go down.
Came back here a little bit.
And then it goes back out again.
Or like these little shadow areas on the ribs.
Another.
Way too high. It doesn't really matter too much.
Uh, I think it's going to bug me if I don't move them.
I'm still trying to figure out exactly how refined I wanna paint this.
Obviously, I don't want to go to crazy cause I wanna be able to finish this.
In a fairly good amount of time. You know what to do like a 4 hour demo or anything like.
This is already like a little bit over an hour.
I'm hoping to finish this up pretty soon.
I think I'm mainly getting the face in there.
And then are you making it so that the body is to completely.
A loose.
All right. So I was working on a year earlier to go back and.
Instead of a little bit, I didn't finish it.
And there is a lot of people tend to.
Finally the year like really loose. And I don't really paint it very much.
I wouldn't um.
Intentionally leaving here.
Unfinished.
I actually like painting ears.
I don't know if people just think they're not important or if they think they are hard to paint.
Not really sure, but i've noticed it with a lot of people.
I'm not gonna go into details with it.
I'm gonna render it, you know, just a little bit. So it doesn't look unfinished.
I like this hair line. You know, I would.
To make sure it's fairly soft in cases of the scalp. In between the.
For your help.
And blend the two together. So it doesn't like your hair is to paste it on or anything.
And again, I will leave a lot of these edges fairly soft, especially around me.
I want you to have some of the basic shape. Then you can start going in and pulling out from.
Another strand and stuff.
Um.
When you start trying to detail a little bit out a little bit more.
I would like some highlights in here.
I'm probably going to go too crazy with the hair either, though.
Yeah, I was gonna leave it.
Rip off you stranger like.
Let me stay here. Over here.
And make a new layer and put some over the ear.
Yes.
Copied it, moved it. So.
In the areas.
You know some of my shadows on here might be getting a little dark.
I can light some of those up a little bit more.
Right now go and look at it.
Mhm. Looks really out of place.
But.
Like the hip area is still a little bit weird over here.
I think you need to.
You know, there's this really sharp edge over here.
Some of my shadows might be getting a little defect rated.
Saturate them a little bit more.
You just push the depth a little bit more between these two areas. What's going on?
And leg on her back leg there.
And maybe even here to see how this one is quite a bit darker.
I might make this darker, you know, just to separate out these two legs a little bit more.
Don't worry that your better.
I was talking about.
Uh, for shortening and overlapping shapes. At the very beginning, I never really got over that very much.
Um, you know some people have a lot of trouble for shooting.
It can definitely be tricky. But one of the key things to making for shortening look.
Uh, is the use of overlapping shapes.
Uh, because that's really the key that sells things in it. You know, it tells you the direction.
Then object is going.
Um, you know, so like if we look at, let's just take her arm here. So if we.
You know, kind of like this.
Uh, you know the army is coming in a direction.
You know, like this kind of towards us. So if you were to put an arm band on her or something.
You know the ellipse would go in this direction. And if we don't.
And if we did the same with this arm, if we put an army.
And here, the ellipse would go in the opposite direction. So it is also really.
Help, uh, you know show which way an object is going. So you know.
That this arm is going away from you because the lips is wrapping around this way.
And this one's coming towards you because he loves us going this way. Uh, I do see a lot of times people can.
Uh, I do see a lot of times people kind of mix those up. And so they'll put it on the lips.
And so it makes it look like the arm is going in the wrong direction.
Always be kind careful with that.
Uh, but the other thing too is overlapping. Shapes like this are back here.
You know you have this shape here, which overlaps.
The other bad part of the arm.
And that overlap. It really helps uh, with the debt and for shortening.
So look for areas where you can have.
In the overlapping shapes.
You know, same with the flag in front. You know the calf overlaps.
His back leg.
So if you had like the opposite way where you should be doing something else.
Go back.
So if he had said this leg.
You know it would look really weird. And it wouldn't tell the correct direction.
And uh, so that's another thing to really try and look for.
Never here you are doing for shortening or anything like that are just perspective. In general.
Same with over here. Like that for shortening of the torso. You know you have.
Then you have this here. The overlapping shapes also help uh, you know show.
It's really about looking for lines and overlapping shapes.
Oh, go back to here.
The overlapping shape there with the arm.
You know this overlapping sheep back here. So we can make this.
A little bit darker.
You can see that overlap a little bit more easily.
Some of these lighters more saturated the values behind it.
There's like a little bit of bounce light from the other.
She is well on this part of the earth.
You must exaggerate that a little bit more.
Of course, we need to go back here again.
Make some of these shadows a little bit darker.
I have a few of these folds, kind of you know, making the shapes of the shadows.
For that ship.
Kind of like a little bit.
I mean, there's a lot of really.
Jack brush strokes here.
I'm not sure if I leave them like that. Or if I want to fix them or not.
Maybe there might be a little distracting.
How can I fix you a little bit?
Dark red.
Shadows also need to go dark again.
22. They haven't really worked on this leg down here very much.
Absolutely definitely has some darker shadows.
And i'll probably find the field a little bit. Uh, that's another thing. I think people tend to leave out.
Uh, you know, feet are usually pretty hard to paint. And so a lot of times people can't just leave them out.
So a lot of times people can't just leave them out.
Uh, which you know doesn't really help because they don't really learn how to paint feet very well.
So I would always make sure to pay a fee.
You know what? The transition.
And here I am like leaving really loose. I'm kind of trying to.
Figure out how much I wanna render of this.
I'm probably not gonna do too much.
But I also don't want to look weird or flat or anything.
You can imagine one thing to go through. It may be added.
Like a few little, you know, like the moles, you know this person details.
I would make sure that you don't make them too dark or too hard edged.
That would be pretty subtle with it.
Maybe keep them a little bit more saturated.
But usually I would say that.
And what kind of just throwing them in there? Good thing.
Good evening. Trying to finish this fairly soon.
I go dark.
A little more. Read some of these shadows.
I like this part of the album might be a little white.
Make the darker.
I don't want to stand out too much.
OK.
It's kind of hard to get in.
It's kind of hard to fit in both in here.
And Canada, but needed the leg like this. You know.
Really hard edge. Kind of pressure key to it. Like the rest of the painting doesn't really have.
Like the rest of the painting doesn't really have that.
Rendered a little bit more than that.
I think it's the rest of it was.
Like that might be okay, but I can't stand out a little bit.
Happy new year.
Maybe try and blend in a little bit more.
Maybe it's just gone live. Al, you're going to jump.
Just making it stand out.
Um.
Thank you.
Just put a few more transitional steps between those values.
It might be okay. And the hand, you will have to render that out a little bit.
So it will actually take me a little bit longer to finish this up. And I thought.
I think it might be a little bit too much.
I don't like painting figures. Uh.
That's probably why I'm doing it.
I was wondering if maybe the face might be a little dark compared to the rest.
And it kind of feels like her face is a different color, maybe.
Maybe.
Go on.
Some sort of a color balance on it.
Maybe make it.
A little bit cooler.
Some of the highlights, maybe a little bit more blue and fin.
Actually a little bit more yellow. And cyan.
I think there might be a little bit better and still keep some of that warm in there. But I think.
It kind of matches the rest of her skin tone a little bit more.
In fact, I'm going to trying to fix the shoulder.
The ship. It's kind of bugging me.
Next morning, the saturated colors over here.
A little bit on the job.
OK.
I am gonna go and I'm gonna work on the uh.
You can see mine is kind of at the wrong angle. And you need to.
Paint a little bit more on the forehead over here.
Take this down.
What's with the hair?
There's like a bunch of edges.
Over here. And I need to clean up to on the wrist.
Yeah, my mom might be a little bit too wise. I might make.
Dinner as well. Make the layer cakes. I wanna go back.
Go back.
Trim this part down here.
Yeah, probably should have just gone to one of the lower levels.
And lower layers and just raced out.
That's so not to worry about the background.
But too late.
That might be a little bit better. Uh, uh.
Finger.
Yeah, a little bit more.
Okay, I'm actually gonna.
Rotate them.
Which is easier to paint up. And down. Instead of sideways on this tablet.
Okay, so let's talk about this a lot. When I am painting hands.
So I try and break it up into different planes of the hand. It makes it a lot easier.
So you can kind of treat these areas like where the knuckles are. So you that's.
Yeah, this is gonna be one shape here. And then you know where the knuckle is. And it turns and goes.
To the rest of the finger. You know, that's gonna be another plane. Um.
Uh, depending on how much they're bent. You know, I might just make this one plane instead of making.
Me too. Uh, if they're bent, then i'll make it an additional plane. But since the.
Private can treat diseases one solid plane. And then you have the back.
The hand, which you can kind of treat as another plane. And so.
You know it's a lot easier and easier to just break this into the plane. And then.
You use like a rectangular chalk brush, like the 1 I use to paint in the.
You know that my my brushes turn. It's a little bit different, but.
You should still be OK. All right. So you can see that I have this one color here.
For the back of the hand. And since I'm treating that as one plane, they can adjust.
Put it in the same color, then we can go in and adjust the colors later.
But not too similar.
And you can see I broke these into just one single plane by changing the.
Are you? But I need to go further.
What do I need to go further?
Break it up into another one. So.
You know.
Make this a little bit lighter.
Yes, my hands a little bit light and make it a bit darker.
This is my drawing is still off a little bit.
Looking to fix a little bit more.
Her fingers are getting really short because this part is getting really long.
I think you need to move this back more.
Okay, so I think I'm gonna make this stop playing here later.
And then whatever the figure turns out, it turns here it goes down. I usually make that noise.
A doctor so that it has a little bit more form.
The same with this one. Since this kind of comes up a little bit more like that, knuckle lighter.
Plane. And then when it turns here, uh, make that darker.
And we have a little bit of the shadow here.
I think serious you know, starting to be.
A little bit of form on this hand here. And even though I'm really.
Only painting a couple. Um.
Values.
You are a little more pink.
And knuckles over here.
I mean, once you have those planes kind of blocked in, you can go ahead and start.
Finding the values in the shape a little bit more. I mean, I went too late and missed the train.
I was talking about the different planes there. So I need to go and make them.
A little bit darker now.
And whenever you paint like these, um, you know the area between the fingers.
A lot of times I see people using like, you know that color, you know really.
Dark. I wouldn't do that. I'd go a lot more saturated, a lot lighter.
I think my fingers are getting a little bit wide.
Especially when you're painting a female, you don't want to get your fingers too wide and black.
I'll try and keep them a little bit more rounded.
I think we could hear some of these cooler areas.
Kind of around here. And you have the warm knuckles. And just.
And just look for areas where we can have a different color variation.
The back of the hand here.
Can I have some.
Here's a little bit.
May I have a little bit more of that?
Can I get to detail with his hands?
I'm just trying to save time.
Turn up the hell off my drawing is.
You know, I don't wanna spend too much time on their hands, but I also don't want to make them look happy.
May end up having to spend more time on them.
The hands are usually pretty hard for me to paint. So.
People tend to look at them. You have to see if your hands look bad or not.
So I want to pick up your hands.
A little later.
Fingernails are always kind of weird to paint.
I feel like my fingers are getting really good.
The completed painting.
The completed painting seemed out too much.
Gets covered up by the hair a little bit more.
I think you need to have a little bit more shape to these fingers.
I feel like I'm getting too simplified. A little sausage is?
And I think you might be getting a little bit too small.
Make it a little bit bigger.
A little wider.
I'll go a little bit darker between these figures here.
Maybe indicating a little bit of some of these tendons back here.
I wouldn't go crazy with those. Or was it a name on a female? And uh.
You know kind of simplify it a little bit. A little bit more.
Uh, I think maybe just a little bit be okay.
I almost feel like I was a little bit of a darker.
Area between these fingers.
You know that nicholas ii, again, I wouldn't really.
Player like these lines are all the skin too much.
So just keep it a little bit more simplified.
Mechanics of my proportions are still off a little bit.
Maybe a little bit lighter value.
Give it a little bit more for maybe brighter highlight.
See how that looks? Said this.
Will bring a few more days.
Cooler values in here.
And make this a little bit darker to to kind of make it look like it turns a little bit more.
I think that's probably good for that hand thing.
She is. We're back in a little bit too.
I want to go too crazy with that one, either.
All right. Let me try and be a little bit more patient with this backhand.
Uh, you know, especially since it's in the back.
And I didn't have to.
Um.
You have to put too much attention to it.
Let me go a little bit.
Later.
That bounce rate.
To push it a little bit more.
Think you might need to fix this.
Back a little bit. This transition here is getting really sharp.
Plus I think I need some more of those transitional values to make it blend a little bit more.
And a few more subtle values. And.
Planes in here.
Maybe i'll try and get some of those. What is it?
This back part might be a little bit darker.
I need to make.
That's a little bit later.
Right now.
Clean up some little bit.
What's your name?
You're going out of the line. The wall.
Like a peer.
I I should not be paying the background around. It is now when I try to go paint more.
Is she going to run into some problems? But it's too late for that.
But too late for that. Now.
OK, again.
In the back of the hand here.
And then we'll just put in some of these really like values here.
Or the nickels are.
Can do this darker.
Part of the finger here. And I'm going to go.
To where the numbers are. And then do the lighter bigger.
Beckham looks really messed up.
But I guess my colors were fairly close.
All right.
I put that shit down here.
Mr. Tan get in trouble.
Almost at the wrong place.
I wanna go too crazy with the quality there.
DR. Payne, a little bit of it.
It's probably paint. It seems that it's like.
I will go back to the hand here.
You know you're running out of room. As you know, I didn't really map these things out very well.
And all this stuff in here.
Like, you know, her pinky doesn't fit.
I mean, I guess I can just do these three fingers and pretend like you can't see the other one.
So you don't do that.
Different kind of weird.
Waiting.
Post from his hand.
Yeah.
Give me a little bit.
You may be going too late with some of these colors here.
Values.
Can turn it off then.
Can you tell me?
Doctor shared values too.
I feel like my hand is getting to airbrush.
And make sure that this part reason the clock going over the hand or the arm.
I want to look like a really skinny arm.
OK, maybe i'll make.
One spot. I can hear a little bit later.
Maybe this thing is getting a little bit thick.
I mean, it's probably good enough backhand.
I.
Yeah, I mean, it's probably okay for now.
OK, so now I think I really need to do a feat.
And work maybe a little bit on the um, what.
I might be a little bit. I mean, I don't know. I guess it might be okay if I had a few more of the.
Lighter values.
Maybe a few more indications of um.
What's this for? So down here, below the figure and.
And maybe grab some of these wider values. Anything like things are all kind of.
Things are all kind of place. I mean like it really matters too much. Just.
You know, folds doesn't really matter too much.
It might be cool to have just a few more indications.
So I'm not worried about trying to actually match the photo very well.
I just want to hear some of these, you know, for some action.
Movement like maybe some of these important under his arm.
Here.
Through the contrast that shadow.
If you pull that shit out of the absolute values going into the.
Do you have a little bit more weight?
Do you have some of those folks there?
Here, maybe i'll have.
The doctor falls in front.
Yeah, I can see how I painted that thing around the hand.
In layers. Now it's screwing me up.
Okay, i'll just have some of this right here.
Be like you and me.
I don't want to create any change in America.
And like some of these values here could be a little bit darker.
I'm kind of painting over the shadow.
And indicates more of these folds kind of going on here. You know, with the cast shadow.
Maybe have um.
You need to show some more weight.
On the bed.
We have a few like this.
Everyone's going in there too.
Mhm.
Same over here. I have some news later forms coming.
A fold.
Do you think back here to this one is a really good one to show a lot of weight.
So have fun.
And behind her.
I have some of the shadow and reflecting that too.
iPhone.
A few darker values, kind of around the edges. So I can.
But a little bit more focused on the figure. I don't have to anyway.
I don't have too many light values around here on the edges.
You put a little bit more like a spotlight on the figures.
Maybe same over here. Some of this stuff can go a little bit darker.
I think it might make uh, some of this light here on the front.
On the front of the leg. A little bit later.
I think I might be getting a little bit too dark.
So we're going to have this part right here.
Right now I can go and work on the feet a little bit.
Take it down again.
These are probably we lose as well.
Can you make a new layer? In case? I mess up?
Hi, a little bit that some of these.
Um.
You know, lying down here kinda messed up. They are not very accurate. You know that kind of.
Messy and not really placed correctly.
So I can go in and fix those a little bit more.
Maybe have some of those poles kind of going over the leg a little bit like in front of it.
Like the shadow. And it needs to be darker.
Down here, saturated.
Right?
Over here, I have some of these folds kind of going.
In front of that leg.
Be careful that you don't want to create an answer.
Make it look like the leg is shaped weird.
And we have to go and fix those. Flip it again.
So let's see here.
This is my drawing is often a little bit from the original sketch.
Like this part of the foot is to go down more. You know it's getting way too thin.
Cross direction.
Maybe make this a little bit more rounded. Looking the cap.
So this part here needs to go darker.
Yeah, I think I think my style might be a little bit too narrow that.
I'm gonna make this whole part behind her cap a little bit darker. His foot back here.
Just to show a little bit more separation between the leg and the foot.
So the foot as well have some of those overlapping shapes are talking about.
What are you doing?
Anywhere.
You can see like here, you know, this part of the total here goes in front.
There's overlapping shape.
Between here and here. And then again with the foot, it kind of goes up, and then he'll come out.
Behind it. They have, you know these two important overlapping shapes that are showing you.
Direction and depth. And then you have no lips here. Like with that o'neill.
Again, showing which direction this is going. Those are always serious.
Those are always the areas that you want to look for.
In order to show the depth.
Sit down here. I need.
Add the two can go in front.
Have a stronger value here.
Opening, skipping down.
A little bit more separation there.
We'll go one more saturated.
It actually goes back here a lot darker.
We need to have more separation.
Winners for round two. And the ones behind it.
So these values in here, I think you can go a little bit more cool as well.
I still feel like mine is way too skinny.
Campaign running out of room two.
And my drawing is often a little bit.
I just wanted to be a doctor.
Yeah.
I think I'm gonna put this cat shadow in front of that over here, just so that.
You can see it a little bit better.
I keep saying that.
Be really loose and pain here and there are finding them too much.
You can get a little bit warmer and darker. And you see there's a lot of color variation within the foot.
Here as well. You know you have the warmer areas here in these areas.
Here and here are a lot cooler. And then you have the warmer areas again.
So just, uh, you know for those areas, you can have that colour variation.
Shall we make it feel more realistic? Like over here? And I'm gonna drop this Saturday.
And it looked cooler. Even though I'm still painting with like an orange.
I like these areas over here. I like cooler and lighter.
Me too late.
To go darker with the.
Happy new year.
It doesn't even a little bit hard to see what's going on.
And normally I wouldn't try and paint the zoomed in.
Because when I am out, it might look all screwed up. Like with the values.
Like what the values in the.
The size and everything. But it's just kinda hard to see you this stuff them down.
Oh, my god! Fix that later.
Hopefully it won't be too messed up.
A lot more saturated. Read and hear what happened.
I think I'm going to disagree.
The.
And once again, I kind of ran out of room to make this.
Um.
OK.
I can just put in the uh.
Drapery in front of it.
Can do that on a new layer.
Okay, maybe this could be a little bit more pink.
Discover.
Yeah, like this.
Needs to be a lot more saturated with more red pink.
Walking a little bit of the drapery.
Credit for it.
On Top of everything, I just have some of these lighter values.
Um, in front here.
Okay, that's not even wider.
Shadow second, um.
Make sure that the viewer knows that this is a phone over here on the feed just didn't.
Disappear.
Had money started value here.
This might need to be a little more red and pink.
On the spot.
Uh, maybe even pushing it a little bit more.
We have a little more purple and I think too much.
Communicate a little bit. Some of these folks here.
Skin just so you know it kind of looks a little bit more like her foot is bent.
Do you like the bottom of her foot here to make that a little bit darker?
Some of that red.
I wouldn't get too contrasty between those folds. The.
Maybe a little bit.
There are so many cooler a little bit cooler.
May have been a little bit too saturated, too warm.
Maybe have a little bit more light on this too.
Can you come into the light a little bit more?
I didn't want to get too lost in the hills behind it.
Anyone like that? Lightly darker?
There is some separation.
Makes me sad to hear that doctor. And then we will.
Be done.
Maybe if you live your values here on that knee.
It didn't really work on that at all.
I could see and develop it.
If there's anything major.
Neither forgot.
Or that I screwed up on.
Maybe some of the back.
Typically shaped a little bit more.
I don't wanna hear that.
Go back to school.
Am I still kind of jacket? I think we're in the back.
These areas might be all screwed up.
I think this part, you have to go here.
I need to go back up here a little bit higher.
Probably a little bit more saturated with some of these colors over here.
Beginning a little bit too great.
I want to make this a little bit softer. I want to feel too sharp.
The edges.
My back.
I guess there are a lot darker. I might be getting older too late.
Get a little bit more blue.
And that really.
Pink color.
And I guess I can work on here a little bit, but I mean, you know, there's there's always something that I could kind of work on all of them.
Uh, but you know eventually need to call this finished.
So, um.
I am not really.
Do you do much more with that?
Here are some of these shadows on the wall.
Can I get some of those little darker?
Let me add.
Golden things.
On the way to.
Yeah, a couple on the other.
Part of the body. Maybe I should have clear.
You add some that aren't even really in the reference.
All right. Now, you know this.
Maybe I should get rid of that triangle here.
Triangle here.
Maybe a little too hard edged.
I was looking over to see if there's anything else. Go back.
So quick.
I mean, I think I'm in a pretty good place to call it finished. And there's always something you can fix it.
Went out of the lines a little bit.
But um, yeah, I think it's a pretty good spot.
Of course, he'd come in and check on more stuff.
Likely values. Maybe it could be a little lighter to show a little bit more for liking this arm.
Can you sign here?
But yeah, you know, I think I'm gonna call this one finished.
As soon as the men of this kind of see.
Can you stop playing with.
Yes, it is a hundred percent here. Actually, what size is my?
Six thousand four thousand.
I'm still fairly close.
Hands feels like in a weird bit.
She covered it more. I actually knew that. Of course, I'm going to go fix.
Skin. She could have maybe a little bit more.
Of the angle to it.
It was kind of like this sausage balloon finger.
Some of these things down a little bit more. So they're not so sure.
I don't know if that helped or made it worse.
All right? No more. Not working anymore. All right. So hopefully enjoyed that. It ended up being a little.
Longer than I thought it was going to take. But um, you know it's just because there are so many.
Your hands and feet and faces.
Yeah.
One face.
Of course, I'm going to take more stuff.
But yeah, you know, hopefully that helps a little bit with the you know skin color. I mean.
Skin color. I mean.
I think this lady here might be getting a little bit to desaturate. Now I might have gone a little overboard.
Some of the cooler colors, like probably add some more warmer colors in here.
A lot of times you can do it like a soccer player.
Go on. Add some of that warmth in.
That like totally redoing your painting.
Maybe that that might be enough to put a little bit more there, too.
Are you OK?
I swear, I'm in a stop! This demo soon.
OK. So yeah, I mean maybe that might be a little bit better.
Yes, it is. Drop the opacity a little bit.
But there's still some work.
Peace out there.
Uh, yeah. Okay. I'm definitely calling it finished now. So I hope you enjoy the film.
Tutorial, uh, even though it is being a little bit long. But I wanted to go over.
Um.
All these different things. So if we had won an election.