Presentation

Hello! Welcome to this tutorial.

 

Mainly, to paint skin you need to know where and how the light arises, which consequently creates the shadows, that together with the qualities of the skin and the color is all you need to paint skin. If you want to give it texture, well, that's easy. There are an infinite number of brushes that have these qualities, but although they have that function, they are not going to paint for you, you have to do that based on your knowledge. For that you have to know the fundamentals. You can't start running before you even know how to walk.

I hope this tutorial clarifies more about this realism technique and is not too long and tedious. Let's get started.

 

(Ouch!!! Sorry if it's a little long. This tutorial is like being told to underline what matters most, but everything is important.)

► Lights and shadows (Theory)

Lights and shadows give volume to a drawing, in drawing when painting skin we create volumes that shape the body, knowing this, it is important to know the fundamentals.

 

Although lights and shadows are also used for flat drawings, they do not provide great depth, but speaking of 3D drawings, it is necessary to give a three-dimensional sensation to a 2D plane by applying light and shadow correctly. More than anything, it is required to give the impression of images that leap into reality; we achieve this by using a play of shadows and lights.

(Visual explanatory gif) Seeing how the circle becomes a sphere in a 2D environment I begin to question if life is like that, we just don't notice it because of how our brain processes information. Not you? =͟͟͞͞( ✌ °∀° ) ☛

Light allows us to see contours, textures and colors, in this sense we will have: direct light, reflected light.

 

DIRECT LIGHT: Comes from a light source with its own light energy, such as sunlight, light bulbs, flashlights, etc.

REFLECTED LIGHT: Also called indirect light, it is a type of light that comes from the body, it does not have light itself, but rather receives it from another because the light reflects it.

As for the shadows, remember that they are responsible for giving volume to the painting. They are divided into: own, reflective and predictive. Below is a short description:

 

OWN SHADOW: It means that it is the area where light cannot reach directly, it is the twilight area, and the color is usually darker.

PROJECTED SHADOW: It is the shadow that the object reflects on the surface where the object is located. This shadow has the characteristics that the farthest part of the object is diffuse and the closest part is dark and hard.

REFLECTED SHADOW: It is the shadow that an object projects on another object, that is, they are neighbors between objects and are generated under reflected light. This is best understood by placing an object of a different color. The light that the secondary object reflects to the primary object will be proportional to its own color. All objects reflect their color, including skin (explained below).

To shade in a drawing it is important to know the elements that we must reflect. For this there are two types of lighting: natural and artificial. These lights are relevant to a skin quality explained later.

 

NATURAL LIGHT: It is the light reflected by the Sun or the Moon. Since the light source is far away, it travels parallel, in a straight line. It is projected onto the object at an angle of 45º and has the same shape and extension as the illuminated object.

ARTIFICIAL LIGHT: It is the electric light projected by electric lamps, flashlights, candles or light bulbs, and spreads in straight and radial directions. The projection onto the subject is not an angular projection and casts a wider, thinner shape onto the subject.

► Paint skin

With the above, already in our memory we can now learn to paint skin. I will use a sphere to explain it.

 

What we have to do first is determine where the light will come from to consequently know where the shadows will be, and thus, apply the structure of lights and shadows described previously. Then apply the base color. After it is applied, let's create a "New Layer" in "Flatten to Layer Below" mode. In this layer you are going to apply small green and reddish spots with the airbrush at a low opacity. Use the blur tool to make them diffuse. This is to simulate the internal processes of the skin, which I explain below. This step is optional.

Above the above we will create another layer in "Flatten to lower layer" mode and we will change the blending mode to "Multiply". This is where we will apply the shadows with the same base color. Because you are in multiply mode, the base color will now look darker. It is not essential to set the layer to multiply, you can also do it yourself by choosing a dark color, but it is easier this way. Once the shadow has been applied, on an equal layer above it in "Attach to lower layer" mode we will place the lights and mix everything homogeneously. With the information in the first section, if you know where the light comes from, you know where the shadows are.

 

Having finished the above, now it is the turn to place the brightness of the direct light, place this in the point of greatest light using the airbrush. Use a light color. If you feel that it is too shiny, lower the opacity of the layer.

Then, add another layer in "Flatten to Layer Below" mode where I will place the pore texture (textures are explained a few sections below). To do this, take a brush that had a grain texture, using a dark brown and a medium size brush, apply the texture all over the sphere. I lowered the opacity of the layer so that the pores were not so intensely visible.

 

As a final step, place a layer in "Flatten to Layer Below" mode and change its "Layer Mode" to "Overlay." In this layer I applied with the airbrush a saturated orange color that lives on the border of light and shadow. I blurred it a little. To give realism, normally if you look at the boundaries of light and shadow there is a small saturation line.

 

Note: All layers in "Flatten to Layer Below" mode are referenced to the base color layer.

Ready, we now know how to paint skin!!! If you notice, the teachings explained in the section on lights and shadows were followed.

► Skin tones

• THEORY OF COLOR

 

With color theory we can extract colors from non-human skin. Unfortunately, I am not going to explain all the color theory because it would be a very long explanation, but I am going to tell you the main things you can do in Clip Studio when it comes to lighting.

 

First, you need to consider the average local skin tone. This color is defined as areas where shadows, midtones, highlights, or highlights remain unchanged. In a simple way, this is what we call a person's "skin color", namely black, white and brown.

 

Second, to obtain a gradient scale it is important not to move to black or white because the result is grayish, not natural. It is best to choose the colors diagonally, delimit the center and curve as shown below. The first one is a bad example and the others are acceptable.

• DROPPER

 

Human skin has many colors, from dark brown to almost white. So the question is, what values do I use to have realistic and decent skin? Well, here is the magical and simple technique: An eyedropper and a reference.

 

To get a realistic skin tone, nothing is easier than clicking a photo. So, take high-quality images, references. Look for extreme values when sampling: look for the brightest and darkest points. There is good tone under the hair or under the chin; on the cheeks, nose and forehead, you can find shiny areas; Find another place to test the midtones.

• COLOR MAPS

 

Color maps are a table with different gradients or random colors. You can get these in the Clip Studio store.

 

 

To have the map in Clip Studio it is very easy to go to the store, download the desired map, go to materials, download them, take the map and drag it to the color palette. Ready, enjoy the map. Below I leave a GIF with the process.

► Skin qualities

The skin reflects the colors. If you take an illuminated object and place it close to the skin, it will reflect the color of the object. This is explained at the beginning of the tutorial where it talked about the reflected shadow. The colors of the environment are constantly being reflected by our skin, which is why when painting skin, understanding ambient light becomes an important factor. Incorporate adjacent colors to add realism to your work.

This is an example of the colors of the environment. The skin is in a purple environment, so the skin acquires a small shadow of the color of the environment next to it, in this case the background, it is the closest environment. Looking at the example below you notice how the sphere on the left does not integrate into the background, it floats above it, while the one on the right does.

Another characteristic that the skin has is that when you place, for example, a finger above a lamp you notice that the corner becomes reddish and translucent. This occurs at the edges of the skin because countless capillaries carrying blood pass through the skin. With the power of the light, the skin becomes somewhat translucent and the dominant red of the blood is seen.

 

That is why when they paint skin with a light source close to that part they have to make it translucent to increase realism and congruence. This characteristic is common to arise with artificial light.

According to the amount of light supplied, the transparency will be seen. The example above is with a less intense light, we could say more distant. The colors are not as vivid. While the one below is with a light close to the skin. Transparency increases. The colors become vivid. It takes these reddish, orange and brown colors because of the transparency that denotes the internal structure of the body with its colors that overlap with the light that was placed.

► Internal and external textures

INTERNAL

 

In our skin matrix, it's not about how light or dark it is, but rather what color sits beneath the skin's surface and affects the overall quality of the tone. Whether we have very light, medium or dark skin, our skin can have a cool, warm or neutral tone.

 

Cold undertone: Flashes of pink, violet or bluish coloration, flushed complexion.

Warm undertone: The skin turns yellow, peach or gold.

Neutral undertone: Has no obvious pink or blue skin undertones.

 

Adding these colors is optional. But if what you are looking for is a more realistic effect, well, the solution is to paint these colors gently on the skin.

 

• RED AND YELLOW UNDERTONES

 

Due to the blood flowing under the skin, you will notice that the red shows up clearly. Just look at your hand to check it. White skin shows it more clearly. To give it a better view, in some parts it is good to place a little of these colors.

• BLUE AND GREEN UNDERTONES

 

Also if you look closely at your hand under a not very strong light you will notice that there are some green and blue tones, this is due to the veins that approach the surface.

You can achieve this effect by applying the color with the airbrush and then blending it until you are satisfied.

This is a process to create the illusion of veins in the skin.

After having the skin painted, you are going to place the figure of the vein in a layer above it with a hard brush, then in a layer above the previous one you will place the green, blue and red tones, using the airbrush. You will blend these colors until you are satisfied. Finally, return to the layer where you painted the vein, there with the help of the soft eraser erase and soften some parts of the vein.

Something else you have to know regarding veins is that they have a color change with respect to skin tone. It is classified as follows:

 

HOT: Green or olive veins. Skin with yellow and peach tones.

COLD: Purple or blue veins. Skin with pink, red or blue tones.

NEUTRAL: Green or blue veins. Skin with pink, red and blue or yellow, gold and peach tones.

EXTERNAL

 

External textures are what I call everything you have and can happen to the skin that is visible to the naked eye, some of them are pores, wounds, moles, freckles and folds.

 

• PORES

 

The pores are very easy to place. Pores, although they are everywhere, are clearly seen in places where there is light hitting the skin. Put them all over your skin if you like the result or just in some places. To place them alone you have to take a brush that has small dots; Applying with a light or dark color according to the skin tone, increase the size to what you consider correct.

• MOLES

 

For the polka dots, simply draw a dark brown spot and then use the Blur tool to soften the edges.

• FRECKLES

 

Use a hard round brush to apply small dots on the face. Small, not very noticeable dots (I advise you to lower the opacity of the brush to avoid pressure errors). Intercalate a color between saturated and unsaturated brown. Freckles are not all the same shade. Finally, with the Soft Eraser tool, soften some freckles if you want less noticeable freckles, but if you want more obvious ones you can play with the opacity of the layer. I advise you to do it in a new layer above the skin, so as not to damage the skin in any changes you make to the texture.

► Let's apply what we learned

• SKETCH AND LIGHT SOURCE

 

Let's start with the sketch. All we really need is a basic face. To do this, first draw the basic lines of the face clearly, and then, using the theory I explained above, we will bring each feature to life. Before moving on to applying the color we have to determine where the light will enter, this is a matter of personal taste, so on this occasion I will use a light that has a front entrance (to highlight some features).

• GENERAL COLORS, LIGHTS AND SHADOWS

 

Use a stiff round brush to fill in the base paint color. Set the shapes. Once finished, mix the colors. Use the blending modes that I explained in the section on how to paint skin. This way you save yourself from using such a large color palette. Blending modes add, subtract, divide, and multiply colors. For more information, consult a specialized tutorial.

• PARTICULAR LIGHTS AND SHADOWS

 

After blurring the stains. As a next step I set a "New Layer" in "Flatten to Layer Below" mode above the base color to use a solid brush with a size convenient to the place of application. Finally, with the brush I define the light and shadow areas more strongly, but it still remains general. To make a good drawing and painting you always have to start from the general to the particular. Here I no longer respect the lines of the sketch, I remove them and begin to outline with the brush itself using the color closest to where the line was.

• MINGLE

 

Now and finally it's time to merge the colors. I start mixing little by little to generate a gradient throughout the skin. The technique I use is the eyedropper, although I also use blur, I only use it to soften some areas and degrade colors.

• DETAILS FOR THE EYES

 

The eyelids, eyelashes and skin lines are where shadows are generated underneath because they limit the light that reaches them. While in the rest you will find brighter colors. In the tear duct and below where it is reflected, the light bounces, giving clarity to that area.

 

(I make the eyes on a separate layer above what is already done)

• DETAILS FOR THE NOSE

 

The nose, in the highest part of the face, is where the light reaches directly, so as a consequence the lateral parts are in darkness or with a slight shadow. If one breaks down a nose into its simple factors, you will notice that it is primarily like a rectangular prism cut in half and at the tip are three superimposed spheres that give the sensation of a peak and width to the sides. This final part has greater light in the central circle and shadow in the side circles.

 

(I make the nose in a separate layer above what is already done)

• DETAILS FOR THE MOUTH

 

The shadows of the mouth, for their part, are those that are found before and after the lips, providing them with their volume. Also on occasions, when you want to represent a smile, the facial muscles lengthen, resulting in a small shadow at the edge of the corner of the lips. The muscles of that part create a bulge that, as was well represented in the sphere at the beginning, has its corresponding lights and shadows.

 

(I make the mouth in a separate layer above what has already been made)

• DETAILS FOR THE EARS

 

The ears, for their part, have a spiral of shadows that begin internally with the upper part of the ear and culminate in the center of it. The ears light up as if they were two layers, first the deep one (the part that corresponds to the center) and the raised part (the sides). The parts that are elevated that are marked in points 1, 2 are those that receive direct light, while the rest have medium tones and shadows caused by the curvature of the ear itself. Below, in the drawing of the girl, I did not illuminate her ears in detail because I knew that later they would be covered with hair, but if you require it to practice or because the aesthetics of your illustration demand it, do it in detail.

 

(I make the ears on a separate layer above what has already been made)

Note: This is more of an aside tip. Do not make details of objects that are distant or that have no relevance to where you want to focus the observer's attention, this distracts from what is important. It gives it depth to have some points detailed and others not.

 

• FRECKLES AND PORES

 

I created a layer above the skin and with the Spray brush found in the Airbrush sub tools I made small dots all over the skin with the second tone of my color strip.

Now I'll add some freckles. For this I will create a "New Layer" above the color in "Attach to lower layer" mode in order to separate the freckles in case I want to edit them without damaging the skin. Use a hard round brush to apply small dots on the face. Small points not very noticeable. Make sure to change the opacity of the brush if you use a mouse, but if you use a Graphics tablet, then constantly change the pressure, since the creation of each freckle depends on it. Diffuses subtle freckles. The color of freckles is usually a shade between medium and dark skin tone.

Starting with the base we just created, then duplicate the layer where you place the freckles. Now with the Soft Eraser, gradually fade some freckles (do not erase them completely, just fade them), I recommend that you lower the opacity of the eraser for better results.

• MOLES

 

If you think this is easy, let's add a mole! Moles don't require much effort to look real. Simply draw a dark brown spot and then use the Soft Eraser tool to soften an edge. The soft part looks like a highlight, so all you have to do is paint the diagonal black to give it some weight.

Farewell

Well, without anything to say, thank you for coming this far! ପ(๑•̀ुᴗ•̀ु)* ॣ৳৸ᵃᵑᵏ Ꮍ৹੫ᵎ *ॣ