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 little more dark shade(Copic color: Teal Blue B18) and this shade will cover part 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 sparks to the eye using white acrylic paint to make them more sparkling! 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
AT 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
In this tutorial, I'll show you how to create a palette of human skin colors, so that later I can use it in a drawing. I create colors for white man, for this no specific reason, except for the one with these colors I am most familiar with. This technique also works well for creating other skin tones.
We're going to start by creating a palette of skin tones, but let me first show you the reference photo I'm going to use for the painting. It's impossible to create a palette that works well in any light, so the lighting needs to be looked at on the models first. Color, direction, strength (intensity) of light and light environment– everything paints our skin with a living changing color.
On a sunny day with blue skies, your skin will have yellow (warm) highlights and blue (cool) shadows. And in winter, your skin will have cold and pale colors... All these are changes made by light. Of course there are pigment changes too, but they vary from person to person and are not as much related to lighting.
Reference photo (photographer unknown) and finished drawing.
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I found this photo online some time ago and kept it thinking I would need it later...
Now I think it's best photo for this lesson Her body is well lit on the left, while the right side is completely in shadow. This gives us a good opportunity to study the skin as illuminated and shaded as possible. The photo is discolored by the photographer, so we have to guess about the colors ourselves ...
Step 1: Palette.
We'll start by creating a palette for her skin. To create a palette, I simply open new document approximately 500*500 px in size and paint small patches of colors that I'm going to use. But one flat color looks bad, and it's hard to imagine color in dark and light areas with it.
If you have little experience in drawing skin, I recommend that you look at some photos of the skin. In fact, it's not that difficult.
Try to find images both lit and dark, preferably with neutral lighting (evenly lit indoors or cloudy weather outside). Use the Color Picker Tool - move the cursor from light to dark areas of the skin and see how the color changes. Pay attention to how the marker on the color wheel and the marker in the triangle of colors move.
If the image is compressed, the markers will likely move very unevenly due to the noise created by the compression. I found that skin colors are mostly in a range like this:
pic 3 pic 4
HSV changes from light to shadow
* The color is located in the yellow and red area
* Saturation changes in a non-linear way
What does this mean for painting? First of all, this means that you can't just pick white for the highlights, medium skin tone, and black as the shadow color and use Painter to get the colors in between. Famous and talented artists never use black (in its purest form). There is always some light in the dark.
pic 5 pic 6
Two gradients and Photoshop gradient editor with 3-color gradient
In the image above, using Photoshop's Gradient Editor, I've generated a 3-color gradient (left). I chose light skin tone, medium skin tone, and black, leaving Photoshop to figure out the intermediate colors. The gradient on the right is made up of over 15 colors.
The difference is that the light and dark tones are more saturated in the gradient on the right than on the left. I think the left gradient has too much gray mixed in and it doesn't produce the rich, red shadow areas you often see in skin. Yet again, this is not a hard and fast rule that you should blindly follow.
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3-color gradient curve; 15-color gradient curve.
Some examples of palettes I have created:
pic 9
This is the palette that was used in this tutorial, other options are presented below.
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fig 18 fig 19 fig 20 fig 21
Now you can create your own palette
Step 2: Sketch.
Save the reference image to your computer and open it in Painter. Create a new document with the same resolution as the original image (327*390). Open both documents at the same time, place them side by side and try to make a rough outline of the woman (Pens tool - 1-Pixel).
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Very quick sketch.
After you've completed the first quick sketch, select the Canvas menu item and resize the image to 1000*1193 pixels. At this resolution, you can finish the sketch.
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Left: more details added, right: finished sketch.
Step 3: Add color.
Save your sketch and start filling it with colors from your palette. I used the Pens - Flat color brush. I started on the left side of the body (her right). I didn't use bright colors in my palette, so the left side of her body is too dark at this stage. I don't use the 3 brightest colors until the rest of the body is complete and smooth.
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Left: filled in the highlights with a midtone, right: added other midtones.
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I start smoothing with Blenders - Just add water tool.
Step 4: Bodywork.
After smoothing I added some darker colors from my palette.
I personally think the hardest part of working on this drawing is the edge where the skin enters the shadow. A soft, blurred edge gives the impression of a round shape, while a contrasting edge creates a sharp edge.
You also need to be careful not to mix black into the midtones. This will give a gray gradient similar to the Photoshop 3 color gradient you saw earlier in this tutorial. To avoid this, use at least 3 dark tones in the palette where the skin goes into shadow.
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Left: some shadow areas are enriched with a more brown tone;
Right: smoothing.
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Left: left breast improved, forearm worked out; middle and right: work on the hand.
Step 5: Head.
Increase the size of your document to 2500*2983 pixels in order to draw the face. If your computer is too slow at this resolution, you can cut out the head, paste it into another document, and then enlarge it.
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Roughly drawn head.
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The colors for the lips are not taken from the palette.
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Left: more details; right: more shadows, add highlights too, using the 3 brightest colors from our palette.
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We work on the neck.
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Left: add hair with a very dark color; right: hair processing completed.
Step 6: Final details.
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We paint the most brightly lit areas with 3 light colors in the palette.
To improve the tone of the skin, I added a dark blue color to her right side. I also increased the contrast a bit.
There are some anatomical issues… Her forearm is too short, her neck looks weird, her head is too small, etc…
But! Skin colors are good! (is not it?;)).
Finished drawing.
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Personally, I love these colors the most. Warm browns, rich reds and oranges and fresh roses. Although the picture may have been a bit exaggerated, these colors are considered by most people to be skin tones.
However, more important than color is the combination of light and shadow in a painting. Once you've worked out the distribution of brightness, you can render the skin in almost any color imaginable it can have. Blue, for example. I completely ignored it in this tutorial, but it usually shows up in areas with thin skin. For example, under the eyes, the inside of the forearm, the upper side of the foot, the chest, etc….
INTRODUCTION
There are tons of tutorials on how to draw skin on the net, so I did my best to make my contribution a little different from the rest of the tutorials. First, we will talk about several skin tones. Most of the existing tutorials teach how to draw light or dark skin, and only a few of them teach variations in shades. In this tutorial, I will talk about several shades of light, natural and dark skin, as well as how to give it a fantasy or terrifying look.
I will also talk about how color combinations and the position of the light will affect the colors you choose, how to mix paints, and what painting technique I use when working.
For digital processing I use programs Adobe Photoshop and Corel Painter. Theoretically, all programs are equal in their capabilities and functions.
Ready? Go.
I:: BASIC SKIN DRAWING
In many drawing lessons, several skin tones are distinguished: medium tone, shadows, light zones, and sometimes “warm” colors. This is, of course, the right approach, but far from simple. Skin is not a flat, uniform surface; its complexity lies in the fact that it contains several shades. I'll expand on the concepts of skin tones by adding a few notes of my own. Trust me, it's not as hard as it seems.
The colors and shades will change depending on the skin type you have chosen. I will talk more about this in the second part. this lesson. But all skin tones come down to one general pattern:
(1) MIDDLE TONE: This includes the colors that form the actual color of the skin. There should be several of them, with the same saturation, but in different tones. The saturation of tones should be low, in relation to skin tone.
(2) BASIC TONE: We can say that this is the average value of the main (middle) tone. The main tone is remarkable in that it is pale and does not stand out much. All other shades will be built on its basis.
(3) SHADOW: The darkest portions of an object that are shaded by the angle of the light. There are two things to remember here: first, that they are usually very rich, and second, that they are not thick. And the colors and depth of the shadows should vary on the surface of the entire body.
(4) LIGHT SPOT: The lightest areas of an object that are hit by light. This includes any areas of the body that are lighter than the average tone. Like shadows, highlights should vary in color and brightness throughout the body.
(5) GLARE: Highlights appear where light is most intensely reflected off the surface of the skin, usually in oily areas. They are most often found on the nose and lips. The highlights should be brighter than the highlights, but don't go overboard with them.
(6) WARM COLORS: Warm colors are those that give the skin a vibrant healthy look - a blush on the cheeks, redness on the knees and legs. They have increased saturation and shades of pink, orange and red. Do not apply them to the entire surface of the skin and do not create bright spots.
Medium, base tone and shadows are applied evenly with high color saturation. Light spots and warm colors, on the other hand, are applied with low color saturation over the base. This helps to achieve the effect of transparency and naturalness of the skin. Warm colors are very bright on their own, but when used correctly, they only brighten the picture and enliven the skin tone.
When applying light spots, use several shades, with low color saturation. Cool tones (light turquoise, blue or lavender) are great for natural skin tones, but don't forget pinks and yellows; The combination of cold and warm shades will give the skin a natural look.
The background will also greatly affect the color of the skin, but I will talk more about this later. Suffice it to say that the color chosen from the background can add zest to your drawing.
If all this sounds too complicated for you, relax. Let's visualize all this on a black and white sphere, and then see how this sphere will be played with color ... on the sphere on the right, a "warm" color is added. I just put a bright spot on a section of the sphere, and look how it has changed, it has become more lively, radiating freshness and beauty.
+ Use of a limited number of colors. This is perhaps the biggest mistake. Some take one color as a base, and use a dark and light variation of the same color to apply shadows and highlights. NEVER DO THIS! You will get lifeless flat skin. The secret is to use different shades. Be bold, mix colors, change saturation, experiment.
+Using shadows with low contrast. This robs the skin of its vitality. This approach also leaves the skin flat and lifeless. One of the secrets of beautiful shadows is the use of rich shades. Shadows are neither gray nor black; they are colored, and the more colors you use, the more realistic they will look.
Take a look at this portrait I painted a few years ago. Pay attention to how flat and lifeless the skin looks on the original - the error is not only in the low saturation of the shadows, but the colors themselves are too pale - the skin is almost gray. In the second drawing, the skin takes on a vital luster and shape. Here, not only the colors have become better, but with the change in these colors, the shape has changed, the body has gained volume.
As I said in my previous lessons, this is my way of creating a drawing, not general rule for all! 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 step by step drawing portrait for best results. 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 some details if you like - as I did with upper lip, just for shaping. Try not to apply the color too tightly. 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 more light tone: reddish peach, next to 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 the result will be perfect ratio colors and amazing textures.
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! Anyway, I just added a lot purple using a brush with low opacity (opacity) - 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 apply purple on a new layer (this is a good idea- create new layers for any changes, if you are afraid that everything will go wrong as you want), then use Eraser (Eraser) with low opacity (opacity), low density (flow) and high level of softness in order to get rid from an unwanted purple color, or you can use a brush with low opacity (opacity) and low density (flow) in order to return 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 :)). AT this case, the neck and under the chin are reflecting orange light, so I finished 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 purple- I used a 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). Please note that this is 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 more dark color and draw them with larger pores, so as to create the effect of deep pores. 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 on this moment I hope this tutorial helped you. =)
How to draw skin with a pencil?
- Matvey, why do you write advised
AND)btw gt;
Hardly anyone has seen a skin-colored pencil. If you have, then you are luckyI'm probably lucky, I have pastel pencils that are very close to the skin shades. Goes great on top of watercolors. and for finalizing fine details, they are not replaceable at all.
But the rest of the answer is very good. - red and yellow not working
- The "Leonardo" in Aviapark sells a set of Faber Castel pencils in skin color. By the way, excellent quality and makes life very easy.
- It would seem, why is it difficult to draw skin? A couple of wrinkles, some shadows, paint - and you're done! Wait, how do you color it? !
You need to paint the face with extreme care, moreover, it is often the smallest detail of the picture. But in this article, I will look at ways to achieve skin color itself in three of the most widely used techniques.
I'll probably start with the simplest technique - pencil drawing.
Hardly anyone has seen a skin-colored pencil. If you have, then you are in luck. I will talk about color combinations to achieve skin tone. Usually for these purposes, I take pink as a basis and add yellow, orange or brown on top in the right proportions (most often yellow in a 1: 1 ratio). You can also take yellow as a base and add red or brown. Combinations depend on the desired result. To express shadows, tan and blush, you can use basic combinations, just thickening the colors.
Particular attention should be paid to the fact that if you applied too much of one color, you should not "mask" it with a thick layer of another. It is better to gently (!) Wipe the pencil with an elastic band. But, even if a thick, saturated color is needed, then it is not necessary to first apply a bold layer of one color, then a bold layer of another. It's best to apply thin layers of each color (it's kind of like a layer cake: pink-yellow-red-pink-yellow-red...) until you get the thickness you want.
Next I will consider painting with gouache.
There is nothing complicated here. It is enough to dilute the desired color in the palette and apply it to the drawing.
Usually red, white, yellow and brown colors(2:1:1:1). However, ocher (2:1:2) is often used instead of yellow and brown. For achievement desired color, sunburn or blush increase or decrease parts of a particular color. It should also be noted that it is undesirable to use pink instead of a combination of red and white.
To achieve a pale complexion, do not apply paint in a thin layer so that the paper shines through. You just need to add more white or yellow paint.
You can also add a small amount of blue and green colors (both when drawing with gouache and with pencil coloring), however, you should only do this if you know exactly what you want and what you should get (for example, a sickly look or a shadow).
And finally, watercolor.
Watercolor is the most capricious of paints. Therefore, I would advise you to look for the color you need in the sets. If you combine colors, you will get either a daub in the drawing or a daub in the paints. However, if you practice enough, take good paper, paints and a brush, you can get the desired color again by applying the base and adding the right colors.
By the way, if you have watercolor pencils, the task becomes much easier. In this case, it is necessary to color the drawing as with ordinary pencils (in no case less carefully) and draw a wet brush over the drawing.
Well, in general, that's all.
- Here, a skin-colored pencil has nothing to do with it. It is necessary to study here.