Hi everyone. Chiken here.
Last lesson we finished rendering our character's eyes.
This lesson will be moving on to the
skin of her body and her face.
Additionally, I'll be demonstrating how I use Photo Bashing.
For the base color, I use almost a pale pink or a purple as
a base, but an Orange shade will work well too.
It just depends on the color of
the lighting and environment and your style.
However, if you want to paint characters with darker
skin tones, a general tip is that darker skin
tones will be more saturated than lighter ones.
So let's now get started with blocking in our shadows
and refining it more from the painting plan stage.
I've just used a shadow color and I'm going
over the borders of her face, where the hair
will cast a shadow on her face.
We already kind of did this in the
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painting plan stage, but now I'm just cleaning
everything up, making things look sharper and neater.
Now I'm going to introduce a
secondary color to the shadows.
I use a light dull blue, and like in the
previous chapters, we painted on lightly, color pick it and
use the new color to paint the rest in.
The reason why I do this is not
only to lighten the shadow body, but to
also show the blue undertones of the skin.
Because our flesh is not made of solid material, there
are many, many colors that make up our skin.
Because the skin itself is translucent, the undertones
of blue or green may show through.
So I'll usually put the blue undertone where the shadows are.
And now I'm gonna use a brighter red
to go over the borders of the shadow body.
Because this is our Terminator.
I'll shape them extra dark and where our crevice shadows are,
like where her hair parts on her forehead here.
Now I'll start refining the nose.
I like to shade the top of the nose with a shadow
or blush color, and I'll fade it out a bit like this.
And again, like our eyelid, we shade first, then draw the lineart over the shading.
And if needed, I'll just go in with the smudge tool to soften it.
I'll erase the hair over here on the chin
just so we can work on the face.
I'll paint it in again later when we render the hair.
Now I'm just going to slightly highlight her eyelid
a little bit to show the convex shape.
I'll just slightly lighten and desaturate her skin
color and paint that on very lightly.
Now I'll start to refine the
shape of her cheek and face.
I will soften the line by tracing
the inside with red or rose-ish color.
Then I'll trace on the lineart with a darker outline color.
While we're in the area, I'm just going to quickly
fix the mouth a little bit with the liquify tool
and we can move on to detailing the lighting.
I'm just going to clean it up
and make the layers more clear.
But like our blue, our skin
will also have yellow pigments.
Because the sun is shining on her face, the
yellow pigments of her skin will be illuminated and
the colors will shift from red to yellow to
white as we get towards the light.
Sometimes I'll also break the lighting up like this
just to make it look more organic, like as
if the light is shining through some leaves.
Now, using the soft render brush, I'm going
to paint on her blush of her cheeks.
Using the base skin color as a reference, I'm going
to go slightly darker and deeper tone of a red.
I will really lightly tap it on
in kind of small circular motions.
I like to do this instead of using the airbrush
because I kind of like the patchiness of it.
It kind of looks more like real skin.
Once I have on the blush, I'll pick the
skin tone again and blend out the red of
the blush a little bit around her mouth.
And using a lighter, less saturated color of her
skin tone, I'm going to slightly lighten her temple
area behind her eyes and a little bit at
the inner corner part of her eyes too.
Now before we finish up the face with the lips, I'm just
going to clean up the lighting area just a little bit.
Now, for the lips, I'll start off by
painting in the shadows of the corner.
I use a shadow color and on low
Opacity, I paint it on very, very lightly.
Now, using the soft render brush, I'll pick a red that is
close to her skin tone and draw on her lower lip.
I just follow the line of her mouth.
Next, I'll pick her skin color and paint
from outside to in so only the middle
of her lips looks the most prominent.
If the shape is not right, we can always use
the skin color and clean it up a little bit.
And now, using the lip color, I'll go very lightly over
the upper lip, then getting a darker red, I'll shade in
the shadow of her lip line, and finally the lineart of
the lip and we're done with the face.
Before we move on to the neck, I'm just
going to clean a few things up and liquify
it a little bit because I think the proportions
are just slightly off and that's our face done.
Now I'll move on to the skin of the
body, starting with the neck, much like the face.
We start by blocking out the big shadows.
Using a shadow color, I'm going to erase the
ribbon for now, I'll paint over it with a
skin color and we can add it back on.
Later, I'm going to start defining the
shadows around her neck and shoulder area
to decide where to paint our shadows.
You can look at references or study other
artists' art, see where they usually put the
shadows and try to copy them at first.
And as you copy and practice more and more, you'll
start to recognize where the shadows normally go, and then
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you'll be able to paint them by yourself.
But at whatever stage you're at,
never be afraid to use references.
Now I'll just continue to paint on the major shadows.
I think about where the light is coming from
and just put it in the opposite direction.
Now that our major shadows are blocked
in, I'll start detailing her neck.
I'll start by painting on the crevice shadows with an extra dark red color.
Then, like what we did with her face, I'll take a
dull blue color and paint in the big part of the
shadow body again to show the blue undertones of the skin.
Then I'll make the Terminator slightly darker with a more
saturated and darker red.
And I'll continue detailing the neck,
putting in shadows where I think it needs to be
darkened and sculpting the lighter areas too.
I'll shade below the clavicle a little bit just
to show that the collarbone is bumping out.
And if anything gets too streaky, I'll
just blend it using the Smudge tool.
You can see me constantly layering on different
colors and tones, then blurring it out.
Generally, if you keep the shades to red, blue in
the shadows, and yellow in the light and then blend
it out, it will give you a pretty good and rich skin color.
When everything has been blended in sufficiently.
Then I'll go over with the lineart.
Here again, you can see how I layer on colors.
I paint on the color I want to introduce,
then blend it out with the smudge tool.
The rest of the skin will follow the same
process and will be left with something like this.
If you want to watch and follow along,
I'll leave the full unedited process video for
you to watch in the attachments.
Now let's use the technique of
photobashing to render the hand.
Photobashing is a technique of merging and
blending photographs or 3D assets together while painting.
It's used a lot professionally as it can
save a lot of time, but I think
it's generally just a really useful technique to
anyone who is struggling to render anything.
So here I took a photo of my hand in
the same position that I had it on my character.
I'm going to transform it so that it's around the same
size as I want it, and then I'll use the Free Hand
Lasso Select tool and cut out the shape of my hand.
Once I've selected everything, I'll drag three fingers on the
screen and this copy and paste tab will show up.
I'll just click Cut and paste and
we can remove it from the background.
Now I'll just transform it and position it
better and we can erase the hand below.
Now it looks pretty fitting on our character,
only the color doesn't fit in very well.
So to fix that, I'm going to go to
the Color Hue and Saturation tab and adjust it
until it's pretty similar to what we have.
Now, we have something much closer in tone and color, but
to blend it in even more, I will color pick
from my drawing and drag directly onto the photo.
I drag the base skin color onto the light
part of the photo and then a shadow color
onto the shadowed part of the photo.
And now the colors match almost exactly.
After this, I'll start blending it in
so it actually looks painted in.
First I'll combine the layer with the
photo onto the layer with my drawing.
Then we can start blending it
in with my heart render brush.
I will go over most of the photo
so that it has that digital brushwork look
and similar to the skin of her body.
I will go back in with the Smudge brush
and blend things out if it looks too streaky.
And to match my style, I'll put in the same dull
blue color into the shadow body of the hand and I'll
continue painting in the shadows, using the photo as a guide.
And now that everything's blended in pretty well, I'll
start cleaning up the edges a little bit.
I'll erase the white parts from the photo and I
can also start going on with some lineart.
I'll just use the lineart color here and go over
the borders and outline my hand.
Like in our drawing drills, It's always better to try
and draw strokes towards yourself.
That's why you see me rotating the canvas
when I'm trying to draw slanted lines.
And as I do the lineart, I'm also
cleaning up the rough edges here and there.
I think the lineart here is a bit too thick,
so I'm just going to erase it a little bit.
And now I'll just draw on her fingernails.
The shape I like to draw them in is
sort of half an egg, if you can imagine
an egg with line split in the middle.
When I'm done with the lineart of the fingernails,
I'll shade it in with a lighter skin color,
and then I'll use an even brighter and lighter
color to just draw on little strokes of highlights.
And as always, I like to finish
off by liquifying it and fixing proportions.
I felt that the hand was a little bit too long, so
I cut it in half and moved the top part down.
Then I just blended in so that the cut line can't be seen.
And that's our skin done.
For the mission,
continue your illustration and render
the skin of your character.
You can try out the photobashing technique that I just
taught if you're using it to paint hands, you can take
a photo of your own hands or find a reference online.
In this lesson, we rendered the skin of our character in
the next lesson will be moving on to the hair.