How to draw skin in photoshop. Draw perfect skin, create a realistic portrait in Photoshop
How to color your hair with markers
Step 1
First, get your sketch ready and clean. When using markers, make sure you use ink that doesn't smudge with water!! You don't want your markers to run ink and ruin all your work. You also don't want your marker strokes to be "wrecked" by ink on them. For this tutorial, I'm going to use copic markers, which I find to be the easiest to use as they have a brush-like tip that allows you to gently blend the colors. However, any markers will do, whatever you feel comfortable working with. When working with copics, always test them on paper to make sure they don't flow too much. Make sure you have natural white light in your workspace as yellow light can distort colors! Anyway, let's start the lesson!
Step 2
Here, I selected the first color (Copic color: Water BG15) and drew in the direction of the arrows. I usually start with roots and edges. To paint the highlights on the right side of her hair, I run the highlighter down, stop and you can see it leaves a jagged edge, then start at the bottom and work up to get a nice line of shine. It may take a little practice, but once you get to know your copic it will get easier and easier each time. I also left a glow in the middle of the curls to show that they are voluminous.
Step 3
I applied a slightly darker shade (Copic color: Teal Blue B18) and this shade will obscure some of the first color, the painting process is the same as the step above, just make sure to leave the base color, especially in the shine area. You will see hatching appear!
Step 4
Until next time!
Original: http://www.mangarevolution.com/tutorial_di...?tutorial_id=72
How to color eyes with markers
Step 1
There are many tutorials on how to draw an eye, but there are few tutorials on how to color them. So I decided to show you how to color different eyes with markers. However, you can use a similar technique for digital painting as well ^ _ ^
The first eye, here is a fairly common eye shape, and I decided to paint with golden hues. First I used the base color, pale yellow, for the iris. After I wedge in a shade of darker yellow, I begin to take shape. Then I use yellow ocher, and finally sepia brown to show the shape more. TIP: if something happens and you accidentally run off the edges, you can always use a small brush and some white acrylic paint to fix it! Also, you can add more sparkle to the eye by using white acrylic paint to make it sparkle! I usually correct my painting after I have completely finished it.
Step 2
Evil eyes. Unfortunately my scanner doesn't transmit red, so bear with it. First make a layer of bright yellow, you will see it at the base of the eye and it will look like the eye is glowing. Then make a layer of light orange, and this is where I started to insert a darker orange shade. After that, blend in a deep orange towards the top of the eye with some reds. Finally, with gray color, stroke up to the top of the eye. Gray is your choice, whether you want a bright red or a darker, more sinister look with grey.
Step 3
Pretty realistic. First make a layer of pale blue. Then use navy blue or water color and define the shape of the pupil. Now time for the sexy part! Shade in a darker blue color at the base of the iris. This trick gives the eye a sense of depth - a great idea for you to use. At the end, I made another layer darker, and added small lines in the iris to achieve a sense of reality! By playing with it, you can get many different effects in the same style.
Step 4
Big eye! Okay, this style of eye is very different from the others, in that most of the eye is dark and there is only a small speck of color at the base. First I started with a brown caramel color, then I took a dark sepia color, and determined the shape. I didn't leave too much caramel brown. Then I slowly, hierarchically paint with brown colors, and finally finish with dark gray or black at the top. I really love those eyes, I think they are cute but kind of mysterious, they have a lot of depth.
Step 5
Now, with the skills you have, you can draw any eye, you can also apply this lesson to gems and jewelry! It's very efficient! Just leave a white frame around one edge of the gem to make it look realistic and sunny!
Until next time!
Original: http://www.mangarevolution.com/tutorial_di...?tutorial_id=71
How to draw skin with markers
Step 1
In this tutorial, I decided not to use copic skin markers, so you can see that even cheap markers can do the job. First of all, get the sketch ready for coloring. Remember, use waterproof ink for strokes! Now make a flat layer of the skin's base tone, just leave white areas along some of the lines and some areas on the face.
Step 2
Then, with the same color, make a second layer in the shadow area, under the eyes, under some of the hair and the edge, under the chin and on her arm. I know these steps are a bit unsympathetic, but we will add details ^ _ ^
Step 3
Here comes the fun! adding blush! Using a pinkish/wonderful color, start painting her cheeks and other places. It gives her a bit of personality, and more depth to the character. You can also add it to your lips! Don't use too much of this color.
Step 4
In the final step, just add some grays, here I added on her back, under her chin and under her hair to give depth to the picture. I also made her lips a little redder and that's how you drew it! Not as difficult as it first seems eh? If you think you've painted over too much white, or you want to add a little sparkle afterward, use a brush and white acrylic paint!
Original: http://www.mangarevolution.com/tutorial_di...?tutorial_id=73
Skin is wonderful. It comes in different shades and textures. If you've always wanted to learn how to draw skin, this tutorial is a good start. In this tutorial, you'll learn how to draw a realistic skin texture using Photoshop and a graphics tablet.
How do I draw skin?
Skin painting is one of the important steps in creating a portrait. It has an amazing ability to stretch and change color depending on the mood of the person and other factors.
For productive drawing in Photoshop, you need to be able to work with the tools and settings of the program. However, being able to work with just the brush is also a good start. Also we will use colorPicker(Color picker), blend modes and adjustment layers.
Color matching
The skin does not consist of a monotonous transition of a light shade to a dark one. To better understand how to draw her, let's look at the different color palettes.
shades of brown
The change in skin tone can be seen on the scale above. From pale shades to olive and dark brown. You can't go wrong if you choose brown as your starting point when painting the skin.
Red and yellow halftones
The difference between these shades can be seen in their midtones. Due to the blood in our body, we can detect red tints on the skin. This is especially noticeable on fair skin, when a person, for example, blushes from embarrassment.
Yellow is suitable for deeper shades. To see how it works, search YouTube and watch makeup videos. Knowing the undertones of your skin is very important when choosing the right makeup base. Pay attention to the difference in halftones in different people.
Blue and green halftones
Blue and green also have the ability to stand out. Look at your hand. Did you notice anything unusual? Under the skin, green and blue shades are barely visible in places where the veins are close to the surface of the skin.
You don't have to use these colors in the portrait. But if you want to get more realistic work, a few touches of blue and green won't hurt.
ambient light
Did you know that skin reflects light? Take a bright object and bring it to your cheek. Look in the mirror and notice how the color of the object reflects on the skin.
Understanding how ambient light works is very important in drawing realistic portraits. Incorporate ambient colors to add even more realism to your work.
1. Studying the photo
This tutorial uses a photo of a pretty girl (paid) with caramel skin color.
Study the picture carefully. Pay attention to areas where there is more red or yellow hues. Let's create a simple color map to indicate the primary colors that predominate in a given area of the face.
In addition, the girl's skin has areas with hyperpigmentation. This means that in these places the skin is especially dark. To convey this feature, pay special attention to the dark shades around the mouth and on the forehead.
How to choose skin colors
You can pick up color using palettes in Photoshop, also a tool eyedropperTool(I) (Pipette) You can sample the color directly from the photograph. But the palettes are quite limited, and since the image is made up of many shades, you run the risk of picking the wrong color.
To learn how to choose the right colors, try to do it yourself. First, practice selecting the base shades, try to match them without resorting to the Eyedropper.
Using the Color Picker Panel
Opening the panel colorPicker(Color selection) and select item B - brightness(Brightness).
Choose a brown color of medium brightness. Move the slider up and down to see the entire color range. I'll use this method later in the shadows and highlights step to show you how easy it is to match the highlights.
2. Draw a sketch
Having gained basic skills in color matching, we can move on to creating a sketch.
I will try to keep the composition simpler by removing extra details like flowers and hair accessories. Draw the basic shape of the head using a small round brush. Then add details: eyes, nose and mouth. The finished sketch should look something like this:
3. Apply base colors
Step 1
Let's work with the base skin tones. First, fill the head with any color using a hard round brush. I used blue. Then we go Image- Adjustments- Hue/Saturation(Image - Correction - Hue/Saturation).
Setting up Hue(Color tone), Saturation(Saturation) or lightness(Brightness) to change the color of the head to brown. In my case, I only needed to set the parameter Hue(Hue) to -180.
Step 2
Blending the base and sketch layers by setting the latter's blending mode overlay(Overlap). Opacity(Opacity) set to 33%.
4. Draw shadows
Now we apply shadows. Create a new layer and use Ctrl+Alt+G to transform it into a clipping mask. Set the blend mode of this layer to Multiply(Multiply) and start painting shadows using the same shade of brown as for the base.
Soft round brush hardness(Hardness) 0% focus shadows on the neck and around the perimeter of the face.
5. Shaping facial features with highlights
Step 1
Opening the panel colorPicker(Select color) and move the slider to the very top to select a color for highlights. This color will help us shape the bones in the face by focusing the highlights where the skin gets the most light.
For each individual color, create a new layer. This time, leave the Blending Mode set to Normal(Normal). Apply highlights with the chosen color. We outline the shape of the nose, cheeks, chin and forehead. Brush strokes should be hard and rough, so we adjust the parameter hardness(Hardness) in the region of 50-100%.
Step 2
Change the hue again by moving the slider down. Gently blend the highlights with a more subdued shade of brown. As you work, don't forget to compare your drawing with the photo to make sure you're on the right track.
6. Apply halftones
Step 1
If you think the colors look wrong, remember that you can always add halftones and fix the picture. Create a new layer and set its blending mode to overlay(Overlap). Use the previous color to apply halftones.
Step 2
We continue to experiment with halftones and paint on layers in blend mode overlay(Overlap). Around the eyes, mouth and on the forehead add a more reddish tint. Remember that at any time you can correct the colors using Hue/Saturation(Hue/Saturation).
Step 3
Add a darker shade of brown in areas of hyperpigmentation and particularly shaded areas. Also, this shade can highlight some details of appearance. When finished, merge all layers in blend mode overlay(Overlap) together.
7. Smooth the skin
Step 1
Now the girl in the picture becomes more like her original photo. We continue to mix colors and create smooth transitions using a soft round brush. Eyedropper Tool (I) (With a pipette) we select neighboring colors and mix gently so that there are no sharp transitions between shades. Correcting Opacity(opacity) brush to get a better and smoother result.
Step 2
There are still some rough brush strokes in some areas, let's fix that. Create a new layer in blend mode Hardlight(Hard light) and fill the skin with a solid color.
8. Glare and ambient light
Step 1
Let's add a warm tone to the face. Change the foreground color to white and on a new layer in blending mode overlay(Overlap) start painting highlights. Again we focus them on the cheeks, forehead, nose and chin. Areas with highlights always protrude forward, keep this in mind when drawing.
Step 2
Since the woman is outdoors, she is surrounded by natural light, which sometimes has a bluish tint. Using this feature will significantly increase the realism of the portrait. On the same layer, in places where the ambient light is reflected from the skin, add blue highlights.
Now her face looks more alive!
9. Draw the Skin Texture
Step 1
Before adding texture, try to make the skin as smooth as possible. Use a brush with a hardness of 50-100% with a fairly high opacity value. After smoothing the skin, we begin to draw the texture.
Step 2
The first way to add texture is with a special brush. I will use the standard Airbrush Soft Low Density brush. Brushes suitable for painting skin look like a group of small dots that perfectly mimic the pores on the skin. This set of grunge brushes (paid) is also great for simulating the texture of leather.
Don't go overboard with adding texture. Create a new layer in mode overlay(Overlap) and start painting the pores using the cheek color.
Step 3
Nothing in nature is perfect, including our skin, which is why digital painting often looks unnatural. A quick way to add texture is to use a filter noise(Noise). Create a new layer with the tool PaintbucketTool(G) (Fill) Fill it with a solid gray color.
Now let's move on filter- Noise- Addnoise(Filter - Noise - Add Noise) and set Amount(Quantity) by 12%. After that set the blending mode of the noise layer to overlay(Overlap) and reduce Opacity(opacity) up to 38%.
10. Adding the Finishing Touches
We've almost made it to the finish line! At this stage, it is very important to determine what details are missing in the portrait.
Draw the eyebrows with short strokes, outline the line of the mouth and remove the excess along the edges of the portrait using a hard round brush. Using a soft brush will make the portrait look fuzzy and smudged, so make sure hardness(Hardness) is set to 100%.
We continue to add other details, such as hair and background. Carefully draw the transition between the skin and the hairline.
Do not try to perfectly copy the hair from the photo. Just draw lines following the general direction of hair growth. When finished, adjust the color by adding a bluish tint with colorBalance(Color balance).
This is what the final result looks like.
That's all!
How realistic the skin will be depends on how hard you work on your painting technique. Study photographs of different people to catch the difference, and pay attention to how the lighting falls on the skin.
Explore different skin types and colors. Keep practicing until you get good results.
I hope this tutorial gave you at least a little bit of confidence to work with digital graphics.
Paint realistic and natural looking skin from scratch using traditional techniques and only three brushes.
My name is Mayrhosby Yeoshen. I am a student at the Faculty of Computing in Venezuela. Digital illustration is my passion and it's more than just a hobby. Basically I like to draw the human face or original characters that you can see in my gallery. Lately I've been working as a freelance illustrator trying to bring realism to what I do. I am mainly inspired by Korean Renaissance and Neoclassical artists such as Boticelli and Bouguereau because of the impeccability of their artwork.
FOREWORD
Every CG artist has their own way of drawing skin tones for portraits. However, not everyone is able to get its realistic look, because at first glance, it seems difficult to avoid artificiality due to the natural material of the skin. Although it is much easier to achieve a sense of organicity when we paint in the traditional way. And the reason is not only in the use of sprayers (Airbrush) and mixing colors. It's a matter of adding your own personal touches to the painting and showing meticulous attention to every single detail, from the color of the teardrop to the crease on the lip. You might think that drawing like this sounds like hard work, but it really isn't. More important is the result. After all, mastering this lesson will help you create not only beautiful portraits, but also significantly improve your observation skills.
From the traditional technique used by us in the lesson, there is only one cross-hatching. But make no mistake. Unlike just drawing with pencils, this technique will allow us to achieve what we want, namely, a realistic looking skin. The fact that we can work on a canvas several thousand pixels high, and can use close-ups for maximum detail, will allow us to take control of every single part of the picture. For this technique, only three brushes are used. The first one was created from the base "Round Blender" brush, the second one was downloaded from the Internet, and the third one is "Cover Pencil".
We apply the main shades with the first two brushes, and we will use the pencil only for shading. This method will also improve your perception of shapes and 3D environments. Once we've chosen the colors for the shades, we'll blend them out, get rid of the line sketch, and start the fun part of adding lots of detail. As an attachment to the lesson, you will find a .psd layer for training and samples of other skin tones. You can use them with the technique shown in this tutorial to create portraits of people of different nationalities.
WE START WITH THE BASICS.
The basics are everywhere! Choose a main image and primary colors.
First we have to sketch. You can make it from your favorite photo, scan a pre-made sketch, or use the included "SkinToneForTutorial.psd" file. In the latter case, we will get a ready-made outline of the face and ear. And since everything else at this stage is already done, we can concentrate on painting and texturing the skin.
2. Pay attention to the environment and mood.
What do you want to portray - day, night or dusk? Natural light or artificial light? What mood do you want to convey? All of these things will interact with the skin as they are an integral part of the picture. In our tutorial, we'll render a warm atmosphere with natural light, so the skin tones won't change to a large extent.
3. Color palette.
Using your reference, determine the base colors for the dark, medium, and light shades. In addition, choose additional colors for the cornea, iris, lips, and subtle shades - for eyelids, blush, or something like that. In the application, you are provided with samples of skin tones not only for the white race used in this lesson, but also for other types of skin.
APPLY SHADES.
We enrich the base with shades.
In the screenshots below you will see the basic settings for the first brush we are using. Select the Round Blender brush from the Blenders category and open the Brush Creator with Ctrl+B. Click the Stroke Designer tab and enter the specified settings. Start with a low brush opacity - about 7% Opacity and about 24-30px brush size.
5. Apply shadows
Check the "Preserve Transparency" option on the skin layer. Now choose a warm light brown color and start applying it to the medium-dark areas, using your reference to define them. In our case, we'll shade the skin under her eyebrows, eyelids, chin, and the left side of her face.
6. Mixing colors
Don't be afraid to use more shades from your palette, like pinks and oranges that are darker than your skin tone. Keeping the opacity low, blend colors using only the feature of this brush (its "Bleed" setting is bleed, the larger its value, the better the blending of nearby colors). Don't forget to treat the rest of the skin as well, such as the neck and upper chest.
7. Deepening the Shadows
Make the brush size smaller (about 10-15px). Now, using a dark brown color, deepen the shadows. Do not be afraid to choose different colors obtained as a result of mixing with a pipette - this will only enrich the palette of shades. Also try mixing colors using the brush feature.
8. Add Light
Now, having chosen colors that are lighter than the base skin tone, apply them to the right side of the nose, forehead and upper cheekbone. We are still working with large areas, so there can be no talk of any detailing. Take a close look at your reference and try to get a feel for the 3D shape of the subject, as well as why the light is affecting the cheek areas, the center of the nose, etc. For the brightest highlights, you can use a light blue with a low opacity, which will give the skin a more organic look.
Fill in the eyes with the base color, bearing in mind that the whites of the eyes are actually greyish. Draw a shadow on the iris and draw the pupil. Keeping in mind the spherical shape of the eye, add a shadow under the eyelid and closer to the tear duct. The cornea of the eye, as a rule, has a reddish tint due to capillary vessels.
Having finished with the eyes, start painting the lips. Fill them with a reddish-pink tint and apply shadows with a dark red color. You can also paint a line separating the upper and lower lip with a smaller brush and a higher opacity.
11. Subtle skin tones
Next, choose colors for subtle hues in areas such as the ethmoid sinus, located between the top of the nose and the eye. In this case, we're choosing a nice lavender color with a very low opacity, using the brush's ability to blend into the underlying colors. The area close to the tear duct is often yellowish, so with a smaller brush, make a small, rounded stroke there.
12. Light blush
For cheeks, use a bright carmine (crimson) color. With a large brush (about 30px) apply the shade on the cheeks, blending it with the underlying color.
13. Blending
Now that the main colors have been applied to the skin, blend them using Rob's Blender Round brush with an Opacity of about 25-30% and a size of 35-40px. You can download this brush in the attachment to the lesson at the link provided. As a result, the face will look smoother, especially if we turn off the sketch layer.
14. Getting rid of the sketch
Now that you have finished working on the facial features, let's prepare the skin for texturing. Hiding and turning on the sketch layer (using the eye icon to the left of the layer), paint the outlines of the face using the Cover Pencil brush from the Pencils category at 2px and 30% opacity. Always use a darker (or lighter) color than the base color, filling in the gaps with a larger pencil, or with a small, high opacity brush created earlier.
CONTINUE WITH CROSS HATCHING.
We draw the areas of the eyes and mouth.
15. Start texturing.
What we have been doing so far is preparing the skin for a big texturing job. We are now ready to begin this process using the macro method. Create a new layer and name it "Texture". Uncheck the "Preserve Transparency" option and check the "Pick Up Underlaying Color" option in the Layers Palette. Start crosshatching with the Cover Pencil brush, size 1 to 6px, Opacity: 20%. You can practice in the Designer Brushes window (Ctrl+B).
16. Cross hatching
You can start hatching at any point you want. In this lesson, we start with the right cheek. With quick and confident movements, begin to apply arched strokes, according to the shape of the surface of the face. The main mistake of beginners is that they apply strokes from a completely different angle than the existing face shape. If you are not satisfied with the result, erase everything and start again until you get your hands on it, having gained a certain skill. For convenience, be sure to use the rotation tool (The canvas can be rotated by holding down the "Space + Alt" key combination and setting the direction with a pen or mouse. To return the canvas to its original position, one mouse click while holding the above combination is enough).
17. Pay attention
The success of this technique lies in the amount and quality of detail that we can control. Using magnification, pay attention to the folds, curves of the skin and the very different shades on it. Use the Dropper to define colors. Now we're only focusing on skin tones and the Color Wheel (Colors panel), not the Mixer Palette, nothing else.
18. Improve eyes
The eyes are very often the first thing we see on someone's face. And that's why we need to focus on them more than any other part of the face. Details such as tear ducts, inner eyelid thickness, iris lines and normal highlights immediately grab attention, making the face more alive and giving it a personal touch. Don't forget about the lower folds of the eyelids as well.
19. Now the mouth.
The mouth is another characteristic feature of the face that deserves more study and detail. A common mistake when drawing a mouth is the confusion of its outlines, when the painter does not even bother to study why the lines of the mouth should go this way and not otherwise, and completely does not take into account its three-dimensional shape. Slowly, carefully study all the features of the lips and see where to add light, and where - shadow.
FINISHING THE FACE.
Pay attention to other details.
Drawing a nose can be very entertaining because of its delicate hues. It can be almost all light colors, and at the same time have very dark areas (nostrils). Pay attention to the skin around the nostrils. Usually in people with a white skin type (Caucasian), this area contains bright orange and carmine (crimson) shades.
If you decide to draw in the ears, keep in mind that just like the nose, the ears (white skin type) can have many bright reds, pinks and oranges. The ears do not need to be given as much attention as the eyes or the mouth.
22. Neck and upper chest
After finishing work on the face, we can concentrate on the rest of the skin. And since these are large areas that don't get much attention, working on them can feel a little boring. The best option would be to finish work on other parts of the portrait before sitting down for this stage. Note the very dark shadow under the chin, and don't forget the shadow cast by the hair or dress.
Although eyebrows are not skin, they interact with it in some way. On a new layer, start painting the eyebrow using the same "Cover Pencil" brush, but slightly larger (2.5-3px) and Opacity: 50%, starting with the darkest shades and ending with the lightest ones. Pay attention to the correct direction of the hairs and do not overdo it, otherwise the eyebrows will look fake. For better blending with the skin, make a few light strokes along the contour of the eyebrows in the same color as the skin below them.
24. Eyelashes
For lashes, use the same "Cover Pencil" brush, but in a very dark color (almost black). To keep them from looking artificial, draw them in different lengths, thicknesses and in different directions, but do it carefully to avoid dirt. Follow the shape of the eyelid from which they grow. If you draw an eyelash and it looks unnatural, undo and redraw it again.
25. Completion
Now, the skin has acquired a characteristic texture. All that's left to do is take a look at the picture and make sure everything is in order. Make sure that the shadow of the hair or clothing falls on the skin. If you see that some part of the skin is textured too dark, select the Eraser and set the opacity to low (5-10%), go over the problem areas. You can also use Blender with a low opacity or even tweak the colors a bit. All in your hands!
You can see the drawing in the original resolution of 2835 × 3543 px. The hatching technique is very clearly visible!
Application:
The .psd file for repeating the steps of the lesson:
Color palette for different skin types:
P.S.: I attached a set of brushes Rob's Brush Library to the lesson
We are constantly forced to look at perfectly smooth skin. This is the paradigm of the digital art world.
Why are other interesting features of the skin, such as age wrinkles, genetic features or scars, usually forgotten?
In this tutorial, I'll show you how to transform a standard face into three different characters using freckles, wrinkles, and scars.
The study of faces
You can find great photos for a detailed study of the skin on Envato Market. As a basis for drawing, I will use this picture. Using photos with smooth and clear skin will help you improve your face drawing skills over time.
But to draw the rest of the characters, I need a few more photos. Study as many different skin pictures as you can to improve your drawing skills. Below you can see the photos that I will use.
Freckles
wrinkles
Scar
Draw the base
Now we need to draw a basic face, which we will use as a basis for further work. In one of my publications, you can learn about ways to speed up the drawing process.
Step 1
Let's start with a simple sketch. All you need to get started is a regular oval. Create a new document with the following settings:
- Dimensions(Resolution): 1250 x 1250 pixels
- DPI : 150dpi
Take a hard round brush and sketch out the head. First we draw an oval and outline the location of the eyes, mouth and nose, then we finish the sketch.
Step 2
Set the blending mode of the sketch layer to Softlight(Soft light) and below create a new layer. With a hard round brush, fill the head with the base colors.
Step 3
The further process will be the same as in my previous lesson on drawing the skin. Above the colored base, create a new layer and convert it to a clipping mask (Ctrl + Alt + G). With the help of various blending modes, draw light and shade on the face.
I always start with shadows and paint them on a layer in blend mode. Multiply(Multiplication).
Step 4
You can also add additional skin tones, such as orange. To do this, create a new layer and put it in blend mode. overlay(Overlap).
Step 5
We continue to detail the picture and smooth the skin. By using smudgeTool(Finger) Smudge hard strokes to give the skin a velvety effect.
Having finished with the main details, we take the textured Chalk Brush from the standard Photoshop set and paint the pores on the skin. The main thing is not to overdo it with this effect, if necessary, use EraserTool(E) (Eraser) to remove excess.
Hard brush with hardness(Hardness) 100% add finishing touches and finish the base. Also, along the contour of the head, in gray color, draw the light reflected from the background. Reduce the size of the brush to draw fine hairs on the forehead and eyebrows and add highlights throughout the portrait.
2. Draw freckles and moles
Step 1
As the owner of a freckled face, I can confidently state that these are perhaps the most basic elements that you can master in drawing skin. Take our base and merge all the layers that are specific to the head together (Ctrl + E).
Now add freckles. With a hard round brush, paint small dots on the nose, cheeks and eyebrows. Check that the option PenPressure(Pen pressure) in the brush settings was active, because in this case we want the graphics tablet to respond to brush pressure.
To enhance the effect, duplicate (Ctrl + J) the layer with freckles and delete the excess with EraserTool(E) (Eraser).
Step 2
If the previous process seemed too easy for you, let's move on to moles! We do not need much effort to make the mole look realistic. Draw a dark brown spot and smear one edge with EraserTool(T) (Eraser). The blurred area will create a glare effect and we just need to add a dark color on the opposite side of the mole to give it a little volume.
Moles, unlike freckles, should protrude above the skin.
Duplicate the freckle to add new ones in other parts of the face. When you're done, you should end up with something like this:
This is what the final result looks like. You can add more freckles and moles or leave it as is.
3 Draw wrinkles
Step 1
What would your character look like in 20 years? As we age, our skin structure changes and it sags. To repeat this effect, we need a filter Liquify(Plastic).
Let's move on filter- Liquidate(Filter - Plastic) and tool forwardWarpTool(W) (Warp) Stretch the edges of the jaw down.
Let's age the face even more. Due to the loss of elasticity of the skin, the eyes sag, and the lips become thinner, and the face appears more rounded. We expand the nose a little using BloatTool(B) (Bloating), then purse the lips with the tool PuckerTool(S) (Crinkling). By using forwardWarpTool(W) (Warp) Add more loose skin around the eyes.
You can also create an "old sweet lady" effect by drawing your eyebrows a little closer together.
Step 2
Now let's take care of the wrinkles. The process is very simple. With a hard round brush, draw lines in places where the muscles contract the most.
Do not forget about wrinkles on the nose and lips.
If you didn't delete the freckle layer, make it visible and scale it down. Opacity(opacity) to 60%. Freckles will create the effect of age spots. Apply shadow around the wrinkles and add texture with the Chalk Brush.
Step 3
Small details will enhance the effect of old age, so let's bleach the hair. To do this, create a new layer in blend mode. Saturation(Saturation) and paint over gray hair and eyebrows.
The best way to make the skin more realistic is to paint highlights. We finish the portrait by applying highlights all over the face to enhance the realism of wrinkles.
This is what the final result looks like! Well, doesn't she look like someone's pretty grandma?
4. Draw a scar on the lip
Step 1
Maybe Granny was a ruthless assassin in her past life. If she was chopping bad guys left and right, then she should definitely have a couple of battle scars. Therefore, in the last section of the tutorial, we will create a terrible scar on the lip with you.
We start from the basics. Activate the filter Liquify(Plasty) to make the jaw more angular, raise the ends of the eyebrows higher and lower the corners of the mouth. All this will help to give the face a more ferocious look.
Step 2
This is what I call a fresh scar, because it has not yet healed. Create a new layer in blend mode Multiply(Multiply) and draw the base of the scar above the lip. To make the look more expressive, apply a shadow around the eyes.
With such a scar, the lip should be deformed. Therefore, we finish drawing a part of the lip near the scar in order to raise it higher and show the deformation. Then apply highlights along the edges of the scar to create the effect of wound healing.
We add volume with the help of a shadow, which we apply on a separate layer in the mode Multiply(Multiplication). We select a dark red color for the shadow on the lips and apply it in the cut of the scar.
Step 3
Having achieved enough realism and depth, we can add texture. Use the Chalk Brush to add textural highlights to the scar. This will not only create the effect of pores, but will also add contrast between the clean skin and the wound.
This is what the final result looks like. Wounded but still ready to fight! Thus, you can modify any character with just a few small details.
Now apply the above techniques to your own work!
Only patience and practice will allow you to master the art of drawing realistic skin in Adobe Photoshop.
As I said in my previous tutorials, this is my way of creating a drawing, and not a general rule for everyone! It's best to draw with Photoshop and a tablet, but other drawing programs may also work if they have similar tools and capabilities. If masochistic tendencies are strong in you, then you can try to draw with a mouse.
STEP 1
Let's start with a step by step portrait drawing to achieve the best result. As you can see, I have collected for myself a palette of colors with which I will work. I may not use all the colors, but this is a good palette to start with. The skin is not only pink, peach and brown - you can also add some purple, blue, yellow and even light green. I started with a peach color located in the middle, and drew a "draft" version of the face - its shape, and also applied a lighter color with a low value of opacity (opacity) and density (flow) (about 40%) in the upper part of the face, on the brightest areas.
An interesting start. I chose the darkest brown shade and painted shadows on it. You can already start painting in some details if you want - like I did with the upper lip, just for shaping. Try not to apply the color too hard. Don't make rough sketches and remember that you can always go back to the drawing and make the transitions from one color to another smoother (this is something I plan to do later). I try to paint on the entire surface of the skin at the same time, because if I paint individual areas in turn, then in the end the skin structure will appear patchy and uneven.
Then I chose a lighter tone: reddish peach, the next after dark brown. With this color, I will smooth out the transitions from the darkest areas to the lightest ones. It is worth noting that the colors that I chose for painting the skin refer to different shades. Light colors have a yellowish tint, while dark colors have a reddish tint. Using different skin tones helps to achieve a more vibrant color!
At this stage, I began to tidy up the shadows and work on the details. I chose a light tone from my palette and started highlighting certain areas. Here, as with the shadows, the opacity and density (flow) of the brush were set to 30% (the brush is also round, quite large in diameter and hardness (hardness) - 80%). I advise you not to use a very soft brush, as the result can be a "doll" and unnatural face. Of course, if you want to achieve a plastic effect, then choose a soft brush, but this is a lesson on painting SKIN!
Now I'm starting to think about using texture. I changed my brush. In this picture, I showed a sample of the brush that I used (actually, it came out by accident, but I decided to keep this sample). In Photoshop, this brush is called Chalk brush, and to change its diameter, you just need to move the slider. You may want to work with a very large diameter on a large canvas, as this makes it easier to draw the details. As for the brush settings, it's much easier to set them on a tablet - you can set the size, opacity and angle jitters in "pressure sensitivity" and get the perfect color ratio and amazing textures as a result.
Oh my God! The whole face is now purple! I also cropped the drawing to fit more text next to Step 5. I didn't do it on purpose, I swear! In any case, I just added a lot of purple with a low opacity brush - about 15%. Basically, this color is present in those areas of the picture that are either in shadow (like my neck) or have a pinkish tint (like on my cheeks). Don't worry, I know it looks like war paint - we'll fix that later. I also adjusted the eyes, hair and mouth to give an idea of how the shadows would fall on the face.
In some areas of the face, color should not be added, but erased. I made that purple shade less bright. If you are applying purple on a new layer (it's a good idea to create new layers for any changes if you are afraid that everything will go wrong), then use Eraser (Eraser) with low opacity (opacity), low density (flow) and a high level of softness in order to get rid of unwanted purple color, or you can use a brush with low opacity (opacity) and low density (flow) in order to bring back the peach shade instead of purple. As a result, you can get a transparent yet textured shade. =)
Another nuance that you should consider when drawing skin is the light sources. Skin can reflect light much more than people think - that doesn't mean it has to look like a mirror, of course, but it still reflects some colors. The best example of this effect is child's play when you hold a buttercup under your chin, and if the yellow reflects on your skin, it means that you love the oil. I hate oil, but yellow always reflects on any skin :)). In this case, the orange light is reflected on the neck and under the chin, so I painted it along with bright white highlights on my shiny nose using a hard-edged brush.
I'm sorry about the hair that came out of nowhere, but I just couldn't leave the drawing unfinished. =P I worked on the skin in this drawing a little more. I zoomed in and added a few details. That's why you need to use a large canvas; you can be less careful in drawing. I selected the chin with a barely visible light line along the contour, I also slightly traced it in other parts of the contour. I also added some green tint (with low opacity (opacity) - 5%) and pink (also with low opacity (opacity)). It brings the drawing to life!
Here I put the finishing touches. I added some texture to the neck in much the same way as I did with the purple color earlier - I used the Chalk brush, painted over everything with a very light color, then went over the base color again over the entire surface of the face in order to make the color less noticeable . I also added some golden yellow to the jaw and nose. Don't be afraid to use different colors and paint very rich shadows and bright highlights. Many are faced with the fact that the skin in their drawings looks too flat, in which case this drawing technique helps to solve this problem.
Em? What? Yes, I know that the lesson probably turned out to be quite fast and not entirely clear. It's quite difficult to explain everything in one portrait, so I'll demonstrate some of the drawing techniques I used. Let's talk a little about color palettes. There are three palettes here. The top two are just terrible, the bottom one is better and looks like the one I used in my drawing.
Now, I hope you understand what I mean - I used an orange tint in the first two drawings, but the shadows look green and give a sick look. Making the shadows more red in the last drawing gave the skin a more natural look, despite the fact that the sketches look quite rough.
Of course, every person's skin tone is different. The transition from one shade to another is characteristic of all skin colors. It is not necessary that the shadows be reddish and the highlights yellowish. Experiment! For the dark skin on the left, I used rich and dark colors, transitioning from purple shadows to more orange highlights. Pale skin calls for a desaturated orange shadow overlaid with a wide variety of colors - pink, pale yellow and blue, since fair skin is very thin and blue veins show through it. The skin color swatch on the right was painted with my palette and includes more yellowish orange shadows and pinkish red highlights, which I think would be perfect for depicting Asian skin types. Create your own color palettes. :)
Now let's talk about texture. In my drawing, I almost did not use textures, but you can work on this more carefully. I will explain what angle jitters are. You can see different effects that can be obtained by changing some parameters. You will achieve amazing textures if you set the angle to "pen pressure" in a custom brush (such as the Chalk brush). Note that this is a very interesting effect even on this straight (well, almost straight) line.
Click on the image to view the image in full size and 100% quality.
There are many ways to create texture and it all comes down to trial and error - everyone's skin is different and I can't cover all skin types, but I'll start by describing some painting techniques you can use. On the left, the drawings are close, on the right, they are distant. First I used the Chalk brush to achieve light strokes. You can paint with this brush without lifting your pen from the tablet, or you can paint with light touches (these techniques are only suitable for those who use a tablet, as you need pressure sensitivity, but you can also adjust the mouse: but then you will need to work more on creating the effect of different skin structure, because you have to constantly change the size / opacity (opacity) / etc. of the brush.)
Here I added more strokes with a light color Chalk brush. I slightly reduced the diameter of the brush compared to the previous drawing, then began to erase the areas using a round, soft Eraser (Eraser) with low opacity (opacity) and low density (flow) (I put these strokes on a new layer, so when you erase, the dark layer begins to shine through).
I again applied a light tone to the entire drawing and then erased the small dots that would represent the pores on the face. You can even choose a darker color and paint larger pores with it to create a deep pore effect. Facial pores are more visible around the nose and along the cheeks. You may enhance this effect for skin with an uneven surface.
Veins - I painted the pores and on the bottom layer I added thin pale greenish-blue lines with a brush with a very low opacity (opacity) and a very low density (flow). But you can not arrange the veins in a random order. Many small veins are visible on the temples, neck, wrists and hands, feet, palms. It all depends on how pale your character's skin is and how thin that skin is. In some fair-skinned women, veins can be seen in the chest area or on the thighs, and if the person is thin enough, you can also notice veins on the pelvic bone, on the lower leg or on the biceps. Carefully study the pictures and photos. =)
You can also add lots of other details - cute freckles, scars, blemishes and whatever else you want. Just remember to work on a large canvas. These little dark freckles painted with a round brush actually look quite messy up close, but look great if you zoom out!
Anyway...I'll stop here. The lesson is already getting long enough - if I decide to write more, then I will need to create a continuation of this lesson. Experiment, apply knowledge in practice and carefully study the skin of people - but for now, I hope this lesson has helped you. =)