HOW TO DRAW: Realistic Skin With Coloured Pencils- Part 2 Video Lecture | Become an Artist: Colored Pencil Portrait Drawing Tutorial - Art & Craft

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hey guys welcome back to my channel so
in today's video I'm going to be doing
the second part tutorial of how to your
skin with color pencil so today I'm
using Hermione and I'm going to be
showing you in detail how I draw her
forehead and her nose with the Karen -
luminance color pencils so if the first
part I did six different skin tones and
I went through more in detail how you
could achieve warm skin tones and cool
skin tones so if you haven't seen that
already I highly recommend you checking
that out before you watch this video so
for today's video I'm going to be using
the same colored pencils that I did the
first part so all the clothes that I'm
going to be used in you can see me talk
about in the first part or I'm going to
be linking all the colors that I'm using
in the description below and when I'm
going through when I'm drawing the skin
I will be saying which color pencil
unused in at each time in the video so
as I said I'm going to be doing this
using try and Ashley mint for the
pencils and I'm going to be doing it on
the stressful Bristol vellum 400 series
paper
oh it's picked it has a really nice map
tooth to it I can get some good layers
on before it becomes flat and you can't
planning more layers anyway let's go on
with your tutorial so the first color
pencil that I'm using is the raw umber
50% so what was percentages mean is the
10% is the lightest and then this 50%
and then there's just the war umber or
sometimes there's more percentages if
there's more gradations but one doing is
I'm using the side of the pencil as you
can see I'm not applying it vertically
I'm just using the side and lightly
shading it I'm not using a lot of
pressure at all and I'm using this to
block in where the shadows are so I had
a reference photo of her when I was
drawing this and it's really important
that you look at your reference photos
quite a lot when you're doing the
drawing so identify where the shadows
are on where the highlighted parts are
and also try my densify whether it's a
warm skin tone or a cool skin tone so
with Hermione she had a warmer skin tone
on where the shadow parts are like if a
warm light was cast in that direction
and it tended to be where the
highlighted parts were it was a bit more
of a cooler skin tone it's a bit more
pinkish so once the blocks in the
shadows with that raw umber I moved on
to use in the burbs okay ten percent
which is the lightest version of this
and I'm just applying this all over
where the forehead is so unused the size
of pencil again and I'm doing it really
lightly and I'm going in one kind of
directions and it's really important you
don't apply any pressure because when
you're blending this out you don't want
to have harsh lines that show through so
directional lines so when I'm using
really light pressure when I blend it
out you won't see any of the line
movements it will all blend in together
really nicely so the next color I'm
applying is the burnt sienna 10% and
this is more of a pinkish short time and
as I said it tended to be where her skin
was more highlighted it was a bit more
pinkish and towards the top left hand
corner so I'm applying this really
lightly and I'm just layering the colors
using the side of the pencil and I'm
just using the sides to kind of glaze
those colors over so I'm not pushing
into the paper at all it's kind of doing
the work for me and then I use the
darker water under so this is just a war
umber and I'm using this for some of the
harsher shadows and I'm really just
building up the layers before I do the
blending out for the first time like I
am using it and frankly no pink and I'm
using this where there's more of a glow
on her skin where it's more of like a
pinkish glow and this adds a lot of life
to the skin and makes it look really
healthy then I'm just layering those
same colors for that burnt sienna again
just to get enough coverage so that when
we blend it out it isn't grainy and when
I'm darkening their shadows I'm always
using a gradation of that law number and
then I'm also adding a bit of the burnt
sienna for their shadow pass in
combination with that raw umber
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so now I'm using the bird okay 50% and
I'm using this on the shadow parts that
I have a bit more of a warmer skin tone
and also around where the hairline is
that was a bit of a warmer tone as well
and now I'm going in with the birds
okay temp them and I'm using this blend
it all out so when I'm blending the
layers I'm using a lot more pressure and
I'm using it to kind of push the colors
together and blend them all out so I'm
using the front okay ten percent on the
shadow part to blend that out and I'm
using the white color pencil on the
highlighted regions to blend that out so
when I'm blending I'm using really small
circular motions and I'm using the
pencil a bit more vertically now so that
I can get a bit of pressure in there and
this will flatten out the tufa bit but
it will leave your nest layers so that I
can glaze colors on top of it darken up
the shadows and add a bit more other
warm glow to it if I need to so I can
still add more layers on top of this so
I'm using really small circular motions
and I'm really trying to get in so
there's no little white dots around so
really trying to make sure it's all
blended together and as you can see you
can't see the lines now of where you
were shading the colors on it's really
blending nicely together and you can see
different tones of where the shadows are
so adding all those individual colors
really adds depth to the drawing and
makes it look a lot more realistic
because skin tones isn't just made from
a few different colors there's a lots of
different hues to it and a lot of
different tone
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okay so now you can see that I left the
highlighted region without being blended
out and I'm going in with the white
Karen - aluminum color pencil to blend
this out and I'm using the same type of
motion and pressure as I did with the
burn oak 10% but this was a slightly
cooler skin tone so I didn't want to use
the burnt Oaks temp them because it
would have been too dark as well because
it was very highlighted and there's a
lot of shine cast on this side of her
face so I'm blending this up towards
where I ended off with this burnt at
Kempton and then I'll use the burns oak
10% and the white color pencil together
to ease them into each other so you
can't see where I blended with the 10%
okay and while I blend it with the white
color pencil it will look more of a nice
blended transition rather than a harsh
line as you can see it now looks a lot
more seamless so once the first layer is
fully blended out now is the time to go
and glaze the colors over to darken up
where the shadows are and to add some
more warmer tones or different hues if
you need to so the first thing I'm using
is blood okay 50% and I'm using this to
add more of a warm glow to the shadowed
part so on the left side of her face and
then I'm going in with the war umber and
I'm using those to add a bit more
shadows especially around the eyebrows
because it's really important that you
make the eyebrows look like they're even
into skin rather than just stuck on to
the skin so I'm using the side of the
pencil when I'm glazed in so this
doesn't disturb the smooth looks that
you've got if you applied pencil
vertically then it was ruin all the
smoothness that you've got and it
wouldn't look as good and flawless so
it's really important that you use a
really light no pressure at all so
really light hand and just glaze them
over and it should go on itself just by
touching it onto the paper you shouldn't
have to do a lot of work when you're
doing this process
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so at this point I'm really looking at
the restaurant photo and looking at
where the shadows need to be a bit
darker and where I need to add more
pinkish tones or orangey warmer tones to
make sure looks as realistic as possible
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so now that I've finished the forehead
you can see it looks really smooth and
it looks nice and three-dimensional now
I'm going to move on to the nose so the
nose is a lot more tricky because
there's a lot more different structures
to it and it needs to look really
3-dimensional so at this point you
really need to look closely at your
reference photo to make sure you're
getting those shadows and highlights in
the correct place so the first thing
that I'm doing again is I'm using the
raw numbers and I'm using these two
blocking whether shallow dark so I'm
using the wall and the 50% and for the
darkest part I'm using just the raw
umber and then I'm using the burnt
sienna and I'm using this because at the
tip of the nose it was more of a cooler
skin tone so when there's cooler skin
tones I tend to use the burnt sienna is
much more than the bird okay and now I'm
applying that birds at camp send all
over the nose like I did with the
forehead and now I'm just going to go
over and layer lots of individual
colours to make sure I'm building at
home before I blend it out so I'm
applying the birthday toast 50% to
create a warmer skin tone and I'm
applying more of the war Amber's and
burnt sienna and this will be very
individual to this type of person that
you're drawing in their skin tone so
they might have a cooler skin tone or
Walmart and darker skin tone so it's
very important that you look at your
reference photo and try and pick out the
colors that you think you'll need and
then to the tip of the nose I'm adding
more of the burnt sienna to the darkest
part and for the nostril I'm using that
burnt sienna and also the castle earth
this is a browner color and I'm using
them and glazing the burnt sienna over
the top to create more of a warm whoo to
it because it didn't look solid black so
now I'm applying a bit more pressure
with the wall under 50% and applying
more of that burnt sienna 10% around the
nostril
so I'm just laying up with the bun
jokers as you could see and very shortly
I'm going to go and blend out this first
layer
okay so now that I've added all the
layers I'm going in with the burnt okay
temp them and I'm using this to blend
out the whole of the nose except I'm
leaving some of the highlighted regions
free so that I can use the white color
pencil to blend that out but I will
apply a bit of despair Oh 10% onto the
highlighted parts but I won't apply any
pressure because I'll do that with the
white color pencil so now I'm going in
with the white color pencil and I'm
using that on the highlighted parts just
to make it look a lot lighter than the
surrounding areas
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I am also using that white color pencil
on parts of the nose where there's a lot
more shine to it so on the tip of the
nose around the nostrils where it's more
highlighted because this adds a lot of
dimension to it makes it a true
3-dimensional now the tip of the nose
isn't as dark as it needs to be so I'm
going in and I'm glazing a lot more
colors over the top and again I'm using
the side of the pencil with very very
little pressure if you learn it at all
so I'm going in with an aqua night pink
to add a nice little house glow to the
tip of the nose and I'm going in with
the burnt ocher and the water unders and
burnt sienna
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anyway guys start smoking it for this
tutorial I really hope you found it
useful remember to go and check out part
1 to see how you can create different
skin tones and how you can use the
colored pencils in different
combinations to get different looks
anyway thank you guys so much for
watching if you're new to my channel
make sure that you subscribe so you
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and time lapse videos also I'll leave
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guys so much for watching and I'll see
you in my next video
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