skin painting

hi, my name is aaron westerberg and i'm apainter living in los angeles and i'm gonna show you guys how i paint. so my process is basically i'll have an idea you know, i'll hire a model, do a photo shoot,do a color study from the pose that i like the best. working from life is thebest and i've worked a lot from life so i kind of know the the pitfalls ofworking from a photo. the color study criteria is i have to do it fast, no fingers no toes no detail just the big statements. big value statements,proportion is important, but detail is not.

then from the color study i'll go to thelarger painting. these are the steps i do that have led to the most success for mepainting. okay so i'm mixing my flesh colors right now and making basically agradation of the flesh color so kind of a dark a middle and a light and i'mgonna do that with kind of a yellowish color kind of a greenish color and kindof a reddish color and with her skin tones you know i see a lot of kind ofolive and there's a lot of reflected light bouncing back from the wall, also a lotof blue in there, just kind of getting an idea of what's up there in terms ofcolors and mixing them down here first

and then i'll test them as i go uphere, but first i want to put down are the dark half tones basically thecolors that are in between the lights and the darks. this is called opening upyour pallet and i'm opening up basically you know, these colors that i'm mixing,these flesh colors and a lot of them are just basic red, yellow, and blue so theyellow, a lot of times like the base is gonna be yellow ocher and then i'll putit like either quinacridone violet or quinacridone rose and then maybe likecobalt blue in there to kind of mute it a little bit but like this oneis yellow and red, dominant on the yellow side. this one is yellow andred, dominant on the red side. so i get a

little bit of both. like this is a reallynice mix terrarosa... cobalt blue it's a nice mix for a dark underneath,well like it could be anything you know but a warm dark somewhere around the earmaybe but two colors with a nice nice little mix. you want to grade out alittle bit you can either put like some of this green in there, some of thatgreen. i wouldn't want to put this green in there because that isphthalo green and that will kill it. so if i want to lighten it up alittle bit i'm gonna use yellow. i'm not gonna use white because white isgonna cool it down tremendously so i

want to add a little bit of yellow inthere and it just lightens it up a little bit and warms it up a little bitof white, a little bit of yellow and this, a really nice green that i use a lot is cobalt blueand yellow ochre. another one that i use a lot that i just i don't have black onmy palette but yellow ochre and black. that's a really nice green too, a really nicegray green. i like that color a lot so this is a cobalt blue and yellow ochreand then i just muted it a little bit with some transparent oxide red notice here i'm not blending any of the tilesi'm putting down, i'm just putting

similar colored or similar value tilesnext to each other and progressing forward and moving on to the next shapeonce i have the correct color and tile established. i want to keep my colors asclean as possible. the more times i blend or if i thin out the paintit's gonna be harder to put other colors on top of it so in general, withthe whole head, i want to keep the thickness of the paint it's kind of likea medium thickness. not real thick, not real thin, and that's because i want tobe able to render with the with the paint if it's too thin it's gonna slideaway and it's gonna be hard for the

the separate notes to stick. if it's toothick the paint will glob up and and be harder to work with so it's kind of amedium thickness of paint right now so one by one i'm starting to insert thetiles and progress across the face. one of the things i really try to do morethan anything on a painting is really get nice transitional colors in thereand really... if you use more transitional colors that's more color, so there's not a lot of really strong colors on the face. all thecolors are going to be really... somewhat muted so a bunch of variation of mutedcolors actually looks colorful so that's kind of what i'm going for rightnow is just a bunch of variation of

muted colors so if you're kind of new to color andyou're not really comfortable painting with a lot of color i would say paintwith a lot of color. set up a still life or a model or a figure or whatever andand put a lot of color in there. put reds, yellows, oranges, pinks, purples,whatever and try to make all those work together. a lot of times people that areintimidated by color are intimidated because they don't push thecolor enough. they don't try things that have a lot of color in therebut the more you try to paint things with more color the easier it is tounderstand color and see how it

interacts with the other colors. you'd be surprised at how much reflected light there is when you're painting. you can even just paint like a fabric, like a yellow fabric and forexample, if you painted a yellow fabric under cool light, the shadows are so warmyou know the shadows... they're just they're brilliant and onceyou start seeing color like that then you start believing it and you'llunderstand how color exists and that it does exist in powerful form so the moreyou can you know play with color the better and i guess i'd recommendstill-lifes you know, i think those are one ofthe easiest things to do because you can

sit there and paint a bunch oforanges or whatever forever. you could spend a long time painting thembut for sure i would paint something with a lot of color in it andi would use a lot of paint. don't just blend the paintaround to get your edges- really try to use color to transition fromyour lights into your darks or vice versa the more you start seeing those colors it kind of compounds. you'll see more andmore color and you'll start to realize how much color there actually is outthere but it's just like anything. the more you start to understand somethingthe more you'll see it's just like with

music the more you understand howsomething is composed the more you'll hear. it's the same exact concept so setup a still life with way more color than you're comfortable and you'd besurprised at how much you learn and how much you grow

skin paint

in this video you will learn how you can createsuch a soft looking skin with watercolors. you will learn how to mix your own skin tones,chose the right paper and which techniques you need, to work on delicate gradients likethese. >> laovaan: using watercolor to color skinis one of the harder subjects, especially if the skin should look realistic and clean. because with watercolor you can only go fromlight to dark, mistakes are hard to undo and we need to be certain of what we are goingto do. the key is to use the wet in wet techniqueat the right time, that is: when to work on wet paper when applying color.

but before we can do that, let’s have alook at the skin tones. mixing skin tones from scratch requires 4different components: red, ochre, brown and white. instead of ochre you can also go with yellow,but the key is to get the right mixing ratio. since there is no single skin tone, it isup to you. if the color seems too reddish, add more yellowand vice versa. use brown to darken it and white to lightenit. the benefit of mixing your own tones is thatyou are free to change even the tiniest nuances which makes it useful for any character youwant to color.

the disadvantage on the other hand is, thatit’s really hard to get the same tone every time, so you might also want to work witha fixed tone for skin. my favorite tone for this is naples yellowreddish. when you are using a fixed skin tone likethis, it’s a lot easier to focus on combining your tone with other colors for various typesof shading. you don’t have to mix your base tone againevery time you want to try out a new variation. it will also be a lot more consistent whenyou can always rely on the same base tone. an important aspect when mixing skin tonesand the matching shadows is to not limit yourself to only 2 or 3 different fleshtones.

depending on light situations you can addall colors to your basic skin tone to match with the overall scenery. a sunset would obviously require a differentpalette than a rainy day. giving our skin more variations than justbrown tones is important to give our image atmosphere. so i made a color wheel to give us a littleoverview. on the left i put the spectrum of fleshtoneswithout any other added color but brown. i chose a base tone, in my case naples yellowreddish, to use as an example for the rest of the diagram.

of course you can use any other color forthis. on the very right i used just the color itselfand dulled with black. in the middle i mixed all the other colorsin to get an overview of my possibilities. personally i really like the purple shadow,because it goes with a lot of different sceneries, adding more vividness to the skin. to pick the right colors for your drawingjust experiment, for example by practicing with using movies or photos as reference. a tip for darker tones: use an acrylic foundation. the color won’t lift off of the paper theway watercolor does and that makes it more

comfortable to paint shadows and highlightson top. you don’t have to worry about the whiteof the paper shimmering through while shading. last but not least the choice of paper willhave an impact on your painting. i recommend strong paper, because for thetechnique that i am going to show you we are going to push the colors around a lot. the texture of your paper will also have aneffect on the appearance of your painting. there is rough paper and there is paper withalmost no visible texture. let me tell you right away: both kinds ofpaper work, as long as they are strong enough, but they do have different benefits.

rough textured paper will make your picturemore grainy and your painting clearly identifiable as a work of watercolor. but it is also easier to hide tiny flaws,since they can merge with the texture. compared to that, on fine paper every stainor edge stays visible like on a plate and it’s very unforgiving. nevertheless, choosing paper that has no textureenables a more softly rendered and 3 dimensional look. it conceals the typical watercolor look completelyand makes it appear almost like digital art. before i start painting i look at my sketchor lineart and divide it into tiny pieces

in my head that will need individual attention. skin, lips, eyes, neck, hair, background etc. then i plan the order that i am going to workin. keep in mind, with watercolor you can onlywork light to dark. so start with the light areas. occasionally the face is covered by darkerhair. when that’s the case you can paint overthe lines with skin color without any regret, because it will be covered by the darker colorof the hair afterwards. so the order of this piece will be:skin of the face, lips, white of the eye,

eyes, eyebrows, neck, hair, background, beanieand clothes, hand. it won’t be that strict and i most probablywill jump around between the steps when i am not satisfied with details, but this isthe rough plan basically ;) with this painting i work with a digital referencei made previously. you can use the color wheel to help you choosethe right color. in my case i can find the base tone aroundthe orange/red spectrum, the darker ones seem more in the reddish brown area. first i wet the area of the face. normally i use plain water for it, but ifthe painting is darker, you can already add

a tint. the neck will follow up later, i only careabout the face at this point. i am going to wet it with a brush thoroughly. we need to wet the surface because soft colorgradients can only be achieved when the area is wet then i start placing a mixture of naples yellowreddish and saturn red to determine the basic light situation. this mixture is going to be my base color,because it covers most of the face. carefully put the base color down.

as long as the paper is wet we can push thecolors in the right direction. don’t paint where the highlights are supposedto go. once covered they would be hard to lightenup again. because the highlights aren’t plain whiteas well i applied a light wash of rutile yellow to mute them down a bit giving the skin awarmer appearance. once everything really dried down the grainytexture has disappeared. the colors are now set and should be fixedwith the paper. we can now carefully add another layer ofwater,without lifting any color off of the paper.

so we wet the whole surface again. we will repeat the process of letting thepaper dry and wetting it all over again every time we add another layer. when the surface is carefully wetted, i applyanother layer of my mixed base color. (naples yellow reddish + saturn red). it’s about deepening and refining the shadowswe previously did. again i avoid using the base tone on the highlightsso they stay light. the damp paper will help carrying the color,so we can softly blend it with the first layer. let it dry

time for the next layer. i carefully wet the paper with clear wateragain. this time i add the brown shadow tones witha mixture of (burnt sienna mars brown and naples yellow reddish). these are not placed on the whole face buton the areas where there is the least light. first i carefully draw a line with the shadowtone and then blend them with the rest. a tissue helps to regulate the colors thatare left in the brush. this way you can work with the color on thepaper without adding any new color to it. this is the key to smudging the already placedcolor and to create soft shadows.

here's a tip: if you painted over lines ,wherethere is no possible darker color to cover the mistake, you can take some water and yourbrush and try to lift them off by carefully rubbing it off with your clean brush. once again let the colors dry completely andwet it again. this time we are going to deepen the shadowwith the next layer and also we add a more saturated tone compared to our base color.(naplesyellow reddish + transparent orange + saturn red) this will be our transition tone that definesand blends the places where the shadow and the base tone meet.

this makes the painting more vivid and interestingbecause now the skin looks like it consists of more than just a highlight a base and ashadow tone. i add more depth by adding more layers ofcolors the way we did before. i defined the nose and the nostrils by usingeven darker colors on the wet paper (green umber, mars+brown) and lifting it off witha clean brush at those places where i want harder shadows i have ignored the lips so far, because idon’t want them softly blended in to the skin just like the shadows. so this time after everything dried, i won’twet the face all over again but carefully

paint the basic shape of the lips. i used potters pink + mars brown and burntsienna. at this point we don’t want to paint overthe line. it would ruin the soft skin, since we couldn’tlift off spilled color without lifting off the color of the skin. so be very careful with this part. when the lips are wet i fill them with shadows. i let the lips dry down completely and thenwet the whole face again. at this point i try to blend parts of thelips with the skin, so they won’t look like

sticked on. also i used the occasion to add more shadowsto the lips. time for the eyes. i wet the area of the eyes with a light greyto give the white of the eye some shadows, making them appear like a sphere. when it dried down we can start with the restof the eyes. just as with the lips i am very careful, becausei don’t want to paint over the lines when drawing the lash line or eyebrows . i used phthalo sapphire blue and indigo for the eyes.

because the face is almost done i start workingon the neck. it’s just my personal preference, so youcan do it differently. but i feel the neck and the face fit togetherbetter when they are done directly one after the other. nothin much to say on how its painted. it works just like how i did the face, wettingthe area, placing colors, letting it dry and repeat :). back to the eyes. at certain points i feel the need to use apencil for single lashes, when brushes give

me a hard time to draw delicate lines. so i really recommend switching media whenit’s for the benefit of the picture. if the pencil stands out we can also wet itand add color again. this way we can merge everything togetheror add more depth. last but not least we add highlights on eyesand lips with a covering white. this is what the picture looks like when everythingelse is done. you can see that the areas where we paintedover the lines are covered by other details like the hair or her shirt for example. there will be a full video of this picturevery soon on my channel, so make sure to subscribe

so you don’t miss it ;) also tell me in the comments what you wantme to cover next. thank you very much for watching and i hopeto see you again next time. if you are interested in other videos thatfeature a soft rendered skin click here. if you are interested in more tutorials watchthe playlist here.

safe body paint

hey good morning tony here from learnautobodyandpaint.com body in pain and a quick video on alittle tank project that i'm working on rightover here i and let me tell you a little bit moreabout this thing home so you you understand what's going onhere let me show you the tank we have i yamaha whites are $50 gas tankhere this is the final stage of the project ii decided to do a two-tone graphic on it and here's what i did: okay initiallyand here's what you can do to its just ideas for you

i and you know i will break this downeven more detailed step-by-step within the vip course if you're interested inthat i took up the vip course atlanta body inpain but here's what happened i paid it i didsome body work we had a big chance right over here that the bodywork we based it ok'd green know first we did a silver base okay soare greenwood came out nice and light and this is the silver base rate there right then i got some fine line tape i'massed out the graphic

alright taped it up and i sprayed ourdream okay relate the green over the wholething then we took the tape off then our sober was revealed right after that igot some black pinstripe and we did this little pinstripe hereall along the painted edge okay along the painteda cheer black pinstripe and then i put two coatsof clear on top ovett emeriti have video this thingdone up before okay so to go to clear one on top ofthat now

i wanted i decided later that i wantedto put a detail on it okay and if you have decals right you could clear right over them andthat's what i did with this pinstripe right it was this the final sticker decals that i put on the nightcleared right over its if i had this learn all about campaign d-calif i would put that on the same time andthen put to quote the clear on it okay but i didn't have this detail and iended up clearing the whole thing okay clear the whole thing so it wasbasically done without this loan auto

body in pain decals here so now when i'm doing sanded the whole tankdown with 1200 great you don't want to go coarser than that like a thousand or6 under a hundred because its you gonna show your sanity scratchesgonna be too much to you too much sense scratches for your clearto cover alright that's that's important so if you wanna reclear anything you want it clear over 1200 grit somepeople say thousand but in my mind i think that'sto course

alright 1200 is safe 1500 is a littletoo fine now let's break into another sectionright now okay so if you if your paving a regular basis go clearcoat paint job you do not wanna paint your base over1200 great 1500 grit 1300 you wanna paint over 400grit because you need your pain to stick tosomething right and with cleared so it's a littledifferent alright clear-cut with based qos you have no partner unless it's a yearthing and now more that you're using

there's no partner alright so it's justgoes on to your primary issue or whatever you have underneath your undercoat okay so and then youwould lay your clear coat on top of that great not findyou'll have to send a clearcoat goes right over base coat youknow the day that you're painting alright but that now that we have clearcoat here you're probably thinking hey isn't 1200 little too smooth to paint oversorry got a parrot outside for a cocktail isn't 1200 a little too

fine too not not the answer is not when it's clear cover alright clearcoatyou have additive in it you have activator you know heart nearlyyou share with the clear coat and it will stick to it and it's notgonna peeler chip off as long as you have it sanded like this like a flat like this alrightyou're good to go all right then you could call it soundedbut that later if you want but today what i'm going to do right nowis waxing greece remove it clean okay andyou can waxing grease over clear coat

right it's not going to hurt you don'twanna waxing grease over base coat because you just gonna meltthat of right and don't worry if this is that like getting your getting mixed upi know i'm packing a lot of information in one video but in the vip course you know i havestep-by-step videos you know this do this do this do this to guessyou know this is like i'm covering a lot of things in this one video as wanna put out a lot of goodinformation here so well i'm gonna do right now

and i'll show you some other son videois summit wash it down with waxing grease remover tack it downso i have no dust on it and then lead to more coats of clear on top of this by to seal my learn autobody in pain dot com d-calif okay in my tank why do i want to do thatbecause i'm gas tanks you have the most wherealright you're leaning against that you got your body on it you know and a lotta motorcycles comewith clear coat on the gas tanks over

the details if you if you notice the rest to thebike the decals are just on it another reason why is if you still gasspilled fuel it's not you not gonna have a problemmilt of your d-calif the blue and all that you know it's going to be sealed in theclear coat and it'll be fine as long as you white wipe it off no big deal it'll beperfectly sealed right so that the two reasons whyyou want to clear over decals

on gas tanks i plus i like it i you know if i had by the rest my graphics on mybike i would have put them on and then cleared over everything the the entire bike with could grow becausewhen you wash it afterwards you don't have to worry about your clawyou know snacking up on the corners are the corners of your i lettering coming off a know that youknow you know they say i'm pretty well but once it's clear coated in seal then stays on forever alright so its tonyfrom an auto body in pain i hope you

like the tips on this video in my next video we're gonna show youare basically wash wiping it down clearing it two times and showing youthe finished product i it's again it's tony from an auto bodyin pain if you want to learn more check out more auto body in pain doc commongiving away free a five-page autobody manual as well as a90 minute dvd an autobody i think you gonna like it pick those items up right now and i willsee you at the site have a great day shower

i'll show you exactly step by step howto get these kind of results every single time alright thanks tonywhat's really going to miss soviet on that went do june do huh

painted body

body painting is a form of body art whereartwork is painted directly onto the human skin. unlike tattoos and other forms of body art,body painting is temporary, lasting several hours or sometimes up to a few weeks (in thecase of mehndi or "henna tattoos" about two weeks). body painting that is limited to the faceis known as "face painting". body painting is also referred to as (a formof) "temporary tattoo". large scale or full-body painting is morecommonly referred to as body painting, while smaller or more detailed work can sometimesbe referred to as temporary tattoos.

painted bodies

>>music playing >>john cherevka: hi, i’m john cherevka. >>jamie grove: i’m jamie grove. >>john cherevka: and welcome to our lessonon body painting effects. today we’re going to be going over bodypainting, with the airbrush and using a variety of techniques. we’re doing scales, some alien patches, some lava cracks, predator spots and veins,

little gore. this is important to know because you neverknow when something like this may be called for, just on the set. you might just be there for something else and be “hey we got a guy back there, weneed to get a body painting done.” and if you can do it, you might really geta great opportunity. >>jamie grove: believe it or not, this isused in film quite a bit. anything from print ads, to some of the zombiesthat you see

in some of the big shows out there, to enhance it and make it look gross, and to us, irresistible. all right, you guys ready? >>amanda franchini: i am. >>jamie grove: let’s do this.

paint for skin

okay, hello! um, i have gotten a lot of requests,um, for a tutorial because speedpaints are kinda hard to follow sometimes and i totallyget that. um, problem is that this is very hard to do. um, because this video is goingto be very, very long and i really don't feel like writing everything out so i'm just gonnatalk to you and you're gonna listen to my horrible voice for about, aahh, probably thirtyminutes to an hour. sorry! so, we're drawing john--john egbert--today. you know, homestuck?the only thing i draw. um, so, i have this weird mute color of blue and my sketch toolon multiply circle. the beginning to every face--the circle, your line of whatever. so,i'm just gonna sketch this real quick. and speed it up a little bit.

okay, now that we have our super duper roughsketch down i'm gonna at least try to clean it up a little bit. oh-hoh my gosh! 'causethe more weird lines you have in places you don't want, the muddier your painting partis going to beand the more hard it's gonna be to, like, navigatearound all these stupid lines. so, just, it doesn't have to be perfect, just try to cleanit up a little bit. okay, that's--that's good enough. we're gonna have to do with that'cause i don't have a lot much time actually. okay, so, get your reference picture out ofthe way and set your sketchy layer to shade. lower the opacity--o-pah-city? o-pace-ity.i don't know. don't quote me on that. um,

and start your coloring underneath on a normallayer with preferably really opaque. *quietly* alright, a little bit darker, come on. *slightlyless quiet* there we go. *normal volume* and your coloring part doesn't have to be perfecteither because you're gonna be putting other things over it. it-it's fine, just don't worryabout it. *whispering* just don't worry about it, it's cool. okay, now, flat color's down, we got it howwe want it. whatever. um, we're not quite going to merge this down yet. we're gonnakeep it there at about 20% opacity. that's fine. and i'm gonna get...mmm...tinted darkblue on weird desaturated blue. my acrylic brush with these settings...you can probablysee them in the video if you full screen.

and just start--just go at it. this is--ourfirst pass is going to be like just general shadow like don't even--yeah--...disregardall that. it's whatever. this is just gonna be where most of the shadows are. it's very,very faint, this-this layer is going to be, oooerrhh, not very visible. but it's fine'cause it's just to give an idea of shadow. just--and i like finding colors that you canuse on the entirety of your canvas and not have to keep switching around or use blackbecause black is not generally a good thing to shade with. just try to avoid black. don'tdo it. (with worry) just don't do it. okay, then we shut--set--this layer to shade and..hnn..aboutright there again. about 20%. yeah, that's good, and then put it down on your lineartlayers so it kinda looks like that. and now

we're going to do it again. except we're goingmore localized shading..like little...*squeak*...smaller places! and this is going to be a lot darker.there we go. lil' bit more localized. set shade aaand...let's say...aaahh..seventy.there we go. that's good. i actually--i want to change this one to, um, hmmm..red or something.'cause his skin's starting to look a little bit..weeeird. there we go. a little purpleyred. whoa! *incoherent mumble* okay, that's good. aaand...merge down. that's good. andone last time, i wanna make another one of these layers..hm..ah..*very subtle fireworknoises*..let's use red again and do just a really, really big sweep in places that aregonna have a pretty big gradient. okay, heheh, he looks like he has a beard, so what i do,um, on these layers--shade of course--i get

my water tool on these settings so it doesn'tactually make a mark. it just blends. ahhm, kinda, you know, blur out the edges here sothat the gradient is smooth and not--you don't have too many choppy strokes because it'sgonna be kinda choppy 'cause, you know, we're painting. it looks, well, like paint, kindof. but we're gonna make those ourselves. we don't need all this crap in here. get out.mmkay. there we go. close enough and then again. there we go, we got a nice gradienthappening. and now we're totally done with the shading, i think. for the most part. we'rejust--we're going to ignore it for now. then, i use more toward yellow for the highlightsand we're pretty much gonna do the same thing. um...oh, these are kinda hard to see so igo ahead and put it on those. there we go.

this is going to be the--the general. likewe did with the first shading layer. it's just the general light areas. mmkay, now yougot that and it looks suuuper weird, but it's cool. we're going to lower...ehhss...i dunno...how'bout right here? naaahh..it's too gray. just a little bit of light going on. ah! don'tmerge your luminosity layers and your shading because it, ya see, it doesn't--it doesn'tkeep. if you're going to merge, uh, any layer onto another, make sure the bottom layer isnormal. see like, that would stay, but we're not going to merge that yet. we're gonna keepit. and then, like we did with the shading layers, we're gonna add more. *laughter* so,this time it's more localized. and i don't--i don't use as many luminosity passes as i doshade passes but that's just--that's just

me. who's calling me? someone's call--oh!that's--hang on a second! mmkay, anyway, like i said we're gonna do the localized lightor whatever. you just put it at the end of the nose. aaahh..about right here. underneaththe edge of the mouth, hnnn..the apple of the cheek..eaaehha...it's funny how they'recalled apples. they don't resemble apples at all. they're just part of your face. aaand..thecorner of the eyes. tch..on the eyes. this weird thing right here between your eyebrows.aand..that--there we go. that's a base. pretty simple. near chin..lots of stuff. okay, that's--that'sa face. aaand..the rest of it. 'kay, this--lower that--it's gonna be a little bit brighterthan the other one. see, that one's at 11%, this one's gonna be at, ehn, thirty. that'stwenty. i said thirty. okay. there we go.

very pretty! and i think we're pretty muchready to start the actual painting. yay! fun, right? sheet layer down onto the color. i'mgonna merge my luminosity down and if you try to put the luminosity on the shading layer,you're gonna, it's not gonna be fun. 'kay? it's not gonna take. so, now that you haveyour one layer, and also your reference here--hello!--uh, you can start painting. and i usually onlypaint with one layer for the majority of the time. so, i got my acrylic and i use the colorpicker tool on my, uh, on my tablet a lot. it will really, really help you. so you don'thave to keep going, "huhhuh, it's uh..that with the stupid tool." just your color picker,please, just do it. and if your tablet doesn't have a color picker then i-i-i don't knowwhat to tell you. it's this uh, hang on let

me just draw my pen. here's the pen. eh. gota little button right here and a little eraser. the nib. there is this weird long button onit and it's--it's that part right here. ding, ding! it's a bamboo..pen..tablet..whatever.uh. i'm just gonna mess around with this for a little bit. mmkay. i, uhhehh, i cleanedit up a little bit because it was lookin'--it was looking a little bit rough. so, use yourcolor picker tool and you just start going at it. start blending, color picking, justover and over and over again. and it's going to take a long, long time. but you know what?i-i actually find this part kind of relaxing. 'cause, you know, kinda a mindless task atthis point. and sometimes, you know, i very rarely actually use the color wheel thingafter i have all my colors laid down and shaded

and everything but sometimes it does callfor a, you know, using a little bit more saturation or a little bit darker. it's cool. just dowhatever you think looks good. it'll be fine. i'm sure it'll be awesome actually. y'know,if--if you wanna show me some of your drawings, y'know, just send them to me. send me a link.i'll look at 'em. i'll be like, "yeah, yeah that's awesome." you know, if you want a littlebit of critique, i can do that too. okay, you know, just, fuck, i'm just gonna *humming,leading into a song* adjust the hue, a little bit more red, a little bit more saturated,doo, doo, doo, doo, doo, doo, luminescence down, and since i turned down the luminescence,i'm gonna have to put another, uhh, little luminosity layer on there. oh, my voice justcracked. you hear that?! holy shit! wow! i--i

try to use the biggest range of colors i possiblycan, like, total black, total white, at least somewhere on my paintings. also, did you noticei have a lisp? because it is--it is there! and you're gonna listen to it. i mean, youcould click off the video, but, whatever. you know, i don't think you should. i thinkwe could have a great time. *begging* don't leave me. uhh, alright, err..that's good fornow. ehyeh, there we go. and also, i forgot, gonna get my color picker somewhere betweenthis weird pink color and red. right there. just...bright as you can fucking get it. juststart doing this. i usually put it on cheeks, on the nose, and on the ears. beautiful, beautifullipstick. it's gorgeous. you look so pretty, john. you look so pretty. i also do it onthe shoulders, but you can't see them here.

so. and set that shade and get away that weirdcolor. there we go! what do you think? it's adorable. now we have another color to workwith and blend in! and, just, okay, i'm gonna fast forward now. okay, um, it got prettysmooth as you can see. i just now spent like, thirty minutes doing that. um, but i thinkin this tutorial all i'm gonna do is the face because that was the main concern people hadand i don't have enough time all this junk. so, we're just gonna focus on the face rightnow. it's good. it's cool. it's whatever. so, now that all we have all the...all theweird blending and i also gave him eyelashes, um, we're going to just deepen the shadowsa little bit and give him some beautiful little eyelights. highlights in your eyes. eyelights.i'm like a genius, c'mon, that was a good

joke. (you should be laughing.) 'kay, so there'sthat. um, what else was i gonna do? oh yeah! uh, i like to make the noses shiny. *squeaking*it's comforting. i like it. and like, right underneath here, and here. right here. righthere. right here. okay. and of course, shiny lips. i'm gonna smooth out the--that shinya little bit. it's a little bit too shiny. c'mon. okay. uh, lip's gotta be shiny, uh,little splee right here and right here. there we go! look how shiny and beautiful he is.i'm gonna put a little bit of highlights back here because when you're painting they tendto disappear. just a little bit. we're back. there we go! and i, i usually don't give theprospect kids freckles, for some reason, i think that's just a thing i save for the dersekids, um, i will give him freckles just because

someone was asking about that. so i get, um,tchh, weird brown color here. why not?um, and there is this, uh, this brush i have calledb-plats, i don't remember where i got it from honestly, i googled sai brushes and this cameup. i think it was in like a grunge pack, you're welcome to look for it but i--i haveno idea, i'm sorry. maybe i'll look for it. i'll see if there's the name of whoever madeit, but right now i don't know. and this just makes a bunch of, like, dots. so i gotta,like, erase the bigger ones, split 'em up, and take 'em, put 'em over here and deformthem until they, uhh, they look like they fit the face. right there. there we go, that'sgood! and then, lower the opacity on the eraser and just kinda blend around 'em. and thenset that to shade and *brief pbbbbt*. there

we go! there's some faint freckles, you know,not too much. i usually, uh, go back over it with a regular simple circle and put abunch of big weird dots like "hoh...these don't look like freckles, kiwi!" i know, iknow. it just kinda gives texture. like the-the opacity on these is gonna be so low, you'renot gonna notice. it won't matter. so just, just go nuts. just go nuts. here we go, herewe go, whatever. shade. hahahewa..real freckles....aaand put this about..nine-ten opacity. i'd sayten at the very most. so there we go, kinda gives more texture. woot, woot. and then forthe final touch, we do the same thing again. ehh..i'm gonna use the sketch brush for this.put the freckles that you're gonna see the most. these are black just so you know. andthen do the same thing--shade. there you go!

and there's ya some freckles! that's juston one cheek. i don't know what would cause you to only have freckles on one cheek. thereit is! there it is. that's usually what contributes to the face texture are these. then there'salso, um, there's all my freckles, i'm gonna make a new folder, put 'em all in there. ah,no, that's not what i wanna do. here get in there. okay. now that we have all our frecklesin a neat little, uh, thing, folder, we can..okay. i get my, uh, my really light color up here.try not to use white or black on anything except, mm, highlights and the very, verydarkest places 'cause like if you shade with white or black, it's just, you know, it'snot gonna look good. don't do that. i, i don't know when to stop, i just keeping messingwith things. my mom always told me a good

artist always knows when to stop, and i ambad at that. so, anyway, um, i get my b-plats again, do the thing, then luminosity. heck,i, left a little of this. do the same thing you did to the freckles. that's good. gonnaerase a little bit. i usually, i put these on places that are really shiny like, mm,probably on nose, cheeks, sometimes uh, shiny part of the arm. but, i didn't do the arm,so we're not gonna worry about it. then lower. that kinda...i don't know. i don't know whatit's supposed to be but it feels right. kinda like pores maybe. i'unno. could also layerthose with the darker ones. then it makes this kinda neato texture going on. yeah. so,yeah. there it is. this has been-wait no-i forgot his eyebrow hairs! that's the mostimportant part! no it's not, but i really

like eyebrow hairs. aaaahhh! i gotta changemy brush. make sure to never forget your eyebrow hairs, kids. never. ever. mm..put some overhere too. okay. this has been my tutorial, um, i'm not gonna put credits, i'm just gonnatalk to you. um..i drew this with paint tool sai, as you can see right up here. no, i donot know where to get it. this has been a program i've been using, like, this exactsame one for, like, five years now? i dunno. it's been a long, long time. just been transferringit back and forth on my computer so whenever i need to get a new one. um, recorded withdebut video capture software. ah..professional. you get a free trial, but other than thatyou have to pay for it. this took about tsshh, hour and a half? nah. probably about fortyfive minutes. i'll check. anyway, thank you

so much for watching, um, and if there's anyquestions you have, anything you wanna show me, anything you need critiques on, just feelfree to send them to me. um, here's my tumblr. i'm gonna write it down. nooo, that's a bigbrush. c-a-t-dash-p-u-n. there it is. tumblr. and i might make another tutorial soon. so,just tell me what you think, um, thank you for watching! bye-bye!

paint for body

hi! this is christina mendocino at thehennagirl.com.we are giving tips and techniques for body art. so now what i am going to do is showsome more brush techniques that we are trying to get used to using the brush. lay the tipof your brush down and practice some lines. lift up, now right here where i did the lineit is getting a little drippy so what i did was i did not make enough paint, so the paintis watery. so what i do is i grab my palette there is a wetter area and move to the drierside and i reload my brush on the side that’s a little too wet i want to make it dry soi move over and then we resume. you are practicing lines and stripes. as you get to the end youcan either stop and lift your brush up or you can lift your brush up slowly to stop.this is good to get used to the tool. you

really want to get used to the tool that youare using before you start to use it on people.