Refining the Nose and Mouth

Portrait Painting from a Photo Refining the Nose and Mouth
9 minutes
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Transcript

Okay, so we've refined the eyes and we're going to move to the mouth and nose next. At this stage, you should have watched the section on constructing the features where I described the handouts in detail. And as we move forward, I'm going to show you how to bring that into the painted form sense of the nose and mouth. So let's start by redefining the centerline of the mouth, and I'm going to use a transparent red. I'm using a lizard permanent mix with a teeny bit of black. And as you can see, it's a really warm, pretty dark color and really transparent.

So the mouth is a nice place to have a nice sort of punch of color. And the center of the mouth can be one of the sharper edges. So I'm just starting by refining that it's nice and warm, really transparent. I'm going to soften by wiggling along the bottom edge Have that line so that it creates a little bit of a feel that the lower lip is darkening and warming in to the center line. I've got the apex, that little point here, right, sort of in the center alignment. And I like the color that I've got the upper lip blocked in and basically I think as the upper lip around up, it gets a teeny bit lighter and a teeny bit more kind of pinky less purpley.

So I'll just wiggle along the edge there. We're going to create a nice soft edge. You want all the edges of the lips to be really soft way softer than he think often I'll go back and re soften the edges Even one more time, after the point where they seem kind of soft, they're really soft edges to the lips. Let's actually also put some bass flesh color above that. And then I'm going to use my brush the back of my brush to just scratch it to sort of create an even softer edge. So you can see that you can still feel the direction of the line there, but it's happening in a really soft edged way.

And the lower lip as it rolls into that center line, it's getting a little darker, a little warmer. And just going into that so we're thinking about the planes as we define these features. As we move to the back corners of the mouth, I'm moving into more like black or even a little bit of blue, maybe even a little bit of gray, Blackie Bluey gray, and stating the line with that cooler note It just sort of turns from lips into muscle tack at the corners of the mouse. I wipe my brush off to get the excess paint off. And now with a clean dry brush, I'm just wiggling along that and to create a really lost edge. We're going some more along that edge, I'm just sort of refining the shape of it.

And, and then on the lower lip. As the mouth rounds down, there's a plane change from the top plane to the front plane and it gets a little darker and a little warmer as it rolls down. Just rounding it down to that shadow underneath it. There is a highlight cutting through there. I'm gonna also bring a little bit of a light into this area right beside the most muscle is like turning to be more top plane facing and then I just wiggle right through, there's no blind at the edge of the lips. I'm just letting it all have this continuity where it connects to the lower lip and I'll bring a little bit more of the read further out.

And on the other side too, there's a little bit of a higher up slightly lighter tone right in here. And in here, I'm making sure that this lighter tone is staying in from the edge so that we still maintain that darkening towards the edge, too big for modeling. And then moving into the nose, we've got the form shadow that's really important. I think the side plane of the nose could be a little lighter, it's warm, but not quite as dark. And I want to just I'm just going to put a statement of the whole front plane of the nose in just in one Mark actually crossing over a bit into this side plane of the nose, sort of on line but letting it just all blend together. It's a common thing to put a line here.

And really notice how soft and subtle and lost that edge is. And there's a little bit more of a light carried up through here, which actually suggests the fact that the nose inserts and just go just above the tear duct. So I need to just raise that place where it feels like the nose is inserting into the skull, raise it up a little bit. And you can see that I'm still painting across the forum, always painting across the form. And then I'll just bring that light that comes down where the front plane of the nose connects to the side plane and the specular highlights on the ball of the nose and just soften that transition by bringing it slightly mid tone, color and just dabbing it across what I have put down so that we're not overstating the highlights. And I think that it also it kind of transitions a little bit gradually into that front plane.

So I'm bringing a mid tone to connect the two, creating a bit of a connection. Let's work the edge where the light meets the shadow where the light side meets the form shadow. just wiggle that that's a really soft transition, the more rounded a form is, the softer that you know more gradual that transition will be and the nose is really soft and round. So happens really gradually. That's part of why we actually have a hard time seeing this form shadow sometimes because it's got such a soft edge we're seeing a little bit of The nostril at the back and there's a very subtle sense of it having a later toppling. So I've just gone into that.

And then when I state the lines of the nostrils, well, first I'm going to actually lightly brush over what I've got to just lighten it a shade. Let's make it all unified a little bit more. And then I'm going to state the darker line on top and I'm using a really warm, dark color, same light, same as I used for the center line at the most. And I'll put it in as two angled straight lines. This one's kind of an angle this way, pull down a little bit and it's warm, it's a really rich warm color. So it's nice to have the colors of the face mostly sort of D saturated and then have certain areas of punch to the color and the lips and the nostrils are a good place to do that.

Just refining this a little bit. I wanted to have a bit of Have a darker, cooler color at the back corner of that mouth. There say the very last stages are often just like edges, judging edges, finessing hair, and adding a little bit of reflected light. So, we're going to do that in the final stage and we're almost done.

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