粉彩鉛筆教程〜繪製逼真的深色皮膚和眼睛

Hi there, thank you so much for clicking the thumbnail and being interested in my work. In this video I share with you my techniques and tips on how I achieve the dark skin and eyes. Be sure to watch it right through till the end because here and there I'll be slowing things down in real time so you can take a closer look. So let's dive in and take a look. I'm doing the outline freehand so I'll place a centre point in this middle of the square there. It's a 4 inch by 4 inch study. Then from there just lightly adding a few areas using imaginary angles from that centre point. And then comparing on the vertical plane and the horizontal plane in comparison with each other. So I'm quickly going through this outline. There's loads of videos on my channel if you want to check out how to draw the outline freehand. So here's a couple of thumbnails so you can visually see what to check out after this video if you wish to know more. Just keeping things nice and simple. These are the colours I'll be using for the underdrawing. Now I love this stage. It's quite loose and it's a chance to be free flowing. And all it is is really to reshape what you've done on the outline making sure everything's in the correct position. And getting everything prepared for when I put rich colours on. So it's quite interesting just to have a play about with certain colours just to see what might be needed. And yeah it's just quite nice just to be relaxed and just let it flow. But while I'm doing this I'm still connecting to the energy of the subject. Really feeling it. Letting that image come into me rather than me focusing on the image. So draw it from inside your heart. And just really relax and enjoy the freedom of just moving these shapes around. In preparation for when you put all those nice rich colours in. So I'm laying the white in first. Light pressure where it's mid tone. More pressure where it's highlight. And then just glaze over with the burnt sienna and yellow ochre in places. And just feel your way. And like I say just shaping everything up. I'm not concerned about the value or the chroma. All it is is just making sure all the placement is right. So when you start putting those rich colours on. You haven't got to move things around so much. Another thing about doing these under drawings is that it takes the tension away as well. Because you've started. You've laid some colour down. It's like if you just went straight in with the rich colours over the outline. It can be a little bit daunting. So if you get everything down and you're working as a whole. So you're putting all this pigment down. It does help. And especially it actually covers the pastel matte tooth up. So when you start putting these rich colours on. They go on smoother. And it's easier to apply. Just have fun with it. And just see it as play. As though you're just moving things around. And just enjoying the freedom. Of not being too intense about getting everything accurate. And the colour right at that stage. Right these are the colours I'm basically using. To get that depth to that dark area there. Using the Caran d'Ache brown and black. And then getting the speckles with the white grey. From the Carbophylla range. And then glazing with burnt sienna. And using the blue to get sort of depth. To the shadow as well. So it's just playing and getting that sort of feeling. And just laying it down to start with. So it gives me a good idea then. Of what value I need for the skin. So here's the colours I'm using overall for the skin tones. Just added a colour that is very similar from the Caran d'Ache range. 745. Excellent for this dark skin tone. Just slowing it down to real time now. So you can see how I'm laying this colour. Which is a similar colour to what I'm looking for. Just small circles. And you can see what I've done with the underdrawing. You see how it's sort of shining through this layer. So it's like. Each layer is like transparent if you like. In a certain way. Or translucent. And it all shines through. And it's what creates that texture I'm looking for. If you're enjoying this video. Why not subscribe. It's absolutely free. And then you're sure not to miss any of my future videos. What I'm doing is using a combination of brown. And burnt sienna. And then if it needs to be more chroma. I'm adding that lemon yellow. So I'm laying in the white. To get that sort of value. So you're tinting it down. A little bit lighter than you need. So when you glaze over the top. It becomes the correct colour. Just slowing it down to real time. So you can see how I'm laying these pencils. That are similar colour. There's another one here. From the carbofella range. Which is slightly. A little bit of blue in it. It's like a. It's a burnt sienna with a little bit of blue. So it helps to sort of get that sort of shade. It cuts down on the amount of pencils. So if you've got something which is similar. Use it whatever colour you've got. And then just subtle it up with the burnt sienna. Brown. Yellow ochre. Or lemon yellow. Or ultramarine blue. So you're sort of playing around with the colours. Over top of whatever colour you've actually got. Which is similar. Now I'm putting a bit of black in there. And then adding a bit of red to that. To create more sort of richness. So never just use black on it's own. Always add a colour to it. Now to work on the eyes. I'm working on several areas at the same time. Just to get the overall balance. So I'm putting black in there with the brown. And the burnt sienna. So it's a combination of those. Now with the white of the eyes. I'm using the orange and a blue. It's because the blue and orange are complementary. So it creates nice greys. So you can have a nice cooler grey. With more blue. Or warmer grey with more orange. And it really just sort of does the trick really. Using that combination. I'm using the faber castell there. Because it's more fresher. So I'm adding that down first. And then glaze over the top. And then I'm just putting these sort of little ideas. Of where the eyelashes are as well. While I'm doing that. And then blending it here. With the colour shaper. So I'm working on several areas. Trying to combine these pencils. To create the correct shade. Now here in the corner of the eye. I'm using a cold red. And a dark green. Because they're complementary. And that causes correct shadow for that. I'm putting the highlight in. Then just glazing with the red. Just to give it that glint of colour. I'd just like to take this opportunity. To thank all my patrons. For all their wonderful support. Every month. Can't thank you enough. If you're considering joining me on Patreon. And would like the benefit of longer. Slower more in depth videos. Please check out the link. In the description below. Now this study will be on my Patreon. At some point. Where you can actually see me. And hear me. In the moment. By moment. And you can hear my thoughts. And feelings. As I progress through the actual study. So it will be completely real time. Audio. Real time video. I'm tending to use more blenders these days. And I'm using these cotton buds. Quite regularly now. And just dabbing it. Just softens the edges slightly. Just does the trick. Now here I'm just refining. The actual eyebrows here. So I'm using browns and blues. And using the edge of the pencil as well. Just to create the actual fine lines. And just keep turning the pencil. To find another edge. And putting in sort of glints here and there. Just makes all the difference. So I'm not trying to draw it exactly the same. It's a similar look to it. But I'm trying to get that feel. And the odd glint. Now in the skin there's little dots. So I'm putting those in. By just adding that white. And then glaze over the top with other pencils. And then just going around with the brown. To create that sort of texture. So you can see how I'm moving the pencil. I'm moving it all different directions. And I'm just glazing over with the burnt sienna. Blue and yellow. So that's like acting as your primary. So you're subtling these colours up. And then just glaze over with the lemon yellow. Just to create that chrome if needed. If you're enjoying this video. Why not give it a like. And share it with your friends. It would mean so much to me. As this would help the channel to grow. What I'm doing here is using the Faber-Castell white. And just getting the actual eyelashes mapped out. And then just glazing over them. With the burnt sienna. And then going in between it. So you're moulding the shapes. And adjusting accordingly. I'm just trying to get that sort of depth. The shadow now. Under the eyelid there. Again I'm putting these little dots in the skin. But I'm not putting too many in. Because it's not very flattering really. So I'm just making it so it has that feeling. Of what I'm looking at. But just being a bit sort of subtle with it. That's all. If you're interested in knowing. How I use complementary colours. To create shadows. I have got a free class. And the link is in the description below. And it's a colour wheel. Which I've developed myself. And it applies to more or less everything I do. Landscapes. Portraits. Animals. So if you would like that. It's free. Just check out that link. In the description below. I'm just slowing it down. So you can have a closer look. How I'm getting the texture of the skin here. Again using the carbothello white. In this instance. And just going with it. Just let that movement happen. Just let the energy of the subject. Go into you. And let it flow out of your hands. And then just go over that white. With a colour which is very similar. In this instance. So I'm using the connection of the white. And this brown here. And then going round. And making sure that everything is balanced. And some areas need more red. Some needs more yellow. And it's a case of just going round. And checking everywhere. And just getting an overall feel really. So I'm using the complementary basically. The red, blue and yellow. I'm adding these final details. I'm actually looking in the mirror a lot. Just to check. To see how it feels. From a different perspective. You can take a photograph with your mobile phone. And see how it looks. But basically what I'm doing. Is just going round. Trying to get the whole feeling. Because everything should feel like one. It shouldn't be like. Loads of detail in the eyes. And everything else is subtle. It's all about getting that sort of feeling. The overall feeling. And just letting your instincts take over. And you'll feel. If there's some area that needs more attention. And if it feels wrong. It needs attention. That's how I do it. Rather than thinking. That don't look right. Or this don't look right. It's how it feels for me. And when I'm sensing this. That's what I'm going by. If I can sense there's something not quite right. I work on it until it does feel right. Now I'm softening the white of the eyes here again. With the cotton bud. It just does the trick. You don't have to rub on it. It's just a matter of just dabbing on it. And it just softens all those edges. It just makes all the difference. So what I'm aware of is. How things are glowing more than others. How things are softer. And some are sharper. The colour balance. And the temperature. All these things. I'm feeling. At the same time. So I'm getting an overall sense. Of what's happening with the portrait. And then just going with my instincts. Like I mentioned earlier. And then just. Let it just happen. Just give me a sample of the real time now. So you can see what pace I'm working at. But if you want actually. Live. Me actually talking. While I'm actually drawing. Like I mentioned earlier. It will be on my Patreon at some point. Where you'll be able to just. Observe everything I do. Moment by moment. Now if you want to check out. My website. There's actually a thumbnail gallery. Of all the tutorials available now. On Patreon. So back to the drawing then. So all I'm using here is the blue. And the orange together. So I'm really taking my time now. And getting that subtlety. And the blends of the orange and blue together. To create the certain greys. I'm looking for. Really amazing combination. That is for eyes. It's really good for teeth as well. The orange and blue. Now some areas are more redder. So I'm just adding a little bit more red. So more of a reddy orange then. And then just keep tinting it. If it needs tinting. It's just a case of going backwards and forwards really. Now here I'm just reshaping the eyeball there. It just needs to be a little bit wider. It's a case of being patient. You know just keep persevering. Just keep putting the orange down. And the blue. And keep working at it. If you want it a little bit darker. You can always add a little bit of brown to it. But it's like I'm doing here. Just adding that little bit of brown. Just to make it a little bit darker in that area. It's like on that colour wheel. On the free class I'm offering. If your complementary colours are not dark enough. Just adding that little bit of brown. Just makes all the difference. If you find you're getting overwhelmed. By all the details. And that at this stage. When you start putting these subtleties in. And the detail. Just take a break. Just go into another room. Be quiet for about 5-10 minutes. And then come back all afresh. Just keep being centred in your heart. Try not to focus too much on the details. So don't go outside of yourself. And tunnel vision. Draw that reference image into you. Into your heart. And draw it from inside your heart. And you'll find that all these details. Just happen. They just take care of themselves. So if it's a strange area. It happens. It just flows from you. Once you start to connect. So it's worth persevering with that. And the key is. Is to bring everything inside of you. Into your heart. And not to go outside. And to focus too much on details. Now here I'm using the white tint. Things as well. So it's just about. Getting the tint right. The temperature right. The chroma. The value. And the edges. That's all what happens. When you're putting these final details in. It's just getting the overall feeling. Of oneness. And energetic. And so you really feel the energy of the person. Rather than. Individual. Sort of blocks of details. It's just like. Creating that realism. Of actually somebody there. Because when you meet somebody. You don't actually look at all the details in the face. You're sensing the personality. And the energy of the person. And that's what I want to create in my work. Rather than details. To have a sense. That that person is there. Now there's a little highlight. In the eye there. That I've reshaped. And I've used cold red. And ultramarine blues. Thank you so much for watching the video. Right till the end. I really appreciate it. Been a really fascinating study this. Now if there's any questions at all. Please leave a message. In the comment section below this video. And I'll get back to you as soon as I can. If you find that you've enjoyed it. Please give it a thumbs up. And share it with your friends. It means so much to me. And I really appreciate it. It does help the channel when you do that. If you want to see more of my work. Please check out this video here. Take care. Bye for now.