Portrait of a young girl in Photoshop

So, the promised lesson in drawing the face of a young girl. As a result, you and I should have this green-eyed miracle:

Full link to work.

Materials for the lesson:

Always, before you start drawing a person’s face, you need to mentally “see” your picture. So, it is better to draw the head in full face (our case) in the middle of a sheet of paper and so that the distance from above is slightly more than the bottom.
The whole mass of the head, turned in full face, is an egg-shaped form, whose width refers to a height of approximately 4: 5 (European).

In the contour obtained by a circular outline, a front axial line is marked (No. 1 is the center, usually I simply set a guide), paying attention to the inclination of the head and its position relative to the horizon. In our version, the head looks straight and it is perpendicular to the horizon line.

Create a new document, take the Pencil tool and lightly draw the image of the entire head, mark where your hair will begin.

You see two auxiliary lines showing the position of the parts of the face horizontally (2.3). These are ear lines. Usually the ears are located almost in the middle of the full face.

Also, you see three red lines. (4,5,6) These lines will divide the contour into three parts: the bottom will show the line of the future mouth, the middle – the base of the nose and the top – the line of the pupils, they will help us draw correctly.
Based on our helpers lines, we draw the face of the girl. In young people, especially girls, the face still has a little childish roundness and softness. Eyes are always well opened (European), if this face is not obese person. I usually paint young people with big, slightly bulging eyes, on a subconscious level, this underlines the character’s youth. The lines of the lips are always in good shape, clear, have (even on the “thin” lips) swelling of youth. With age, the lips will become “drier” and will lose, along with the tone of the muscles of the mouth, the clarity of the lines.
While our beauty is not threatened.

For more convenience, I will shade the shadow sides of the girl’s face and identify the source of soft lighting of her face. It is precisely styrihovka, correctly outlining the future volumes of the face, will help you in imposing the right colors when drawing the skin of the face.
Do not be lazy and shout your first portraits, you will see that this will greatly facilitate your future work.

Now, on a new layer, OVER our shaded sketch, we, having a palette with a set of skin colors before our eyes, roughly paint over our face, clearly focusing on our sketch with shadows already drawn.
As you can see, if we stick to our two-color sketch, our skin colors will correctly lie from dark where necessary to light.

All convex parts of the face will always have a bright color. But, since Our light is soft, nowhere will there be any abrupt light-shadow transitions. Always between the two colors will be left space. Why, find out a little later.
Closer to the light source, the skin will also have a light shade, if we compare it with a similar area but located in the shade. But in color (right cheek) it will still be closer to its mirror analog (left cheek) in the shade, remember this because they are on the same plane and not in the plane of the bulges. Although there and there color will become brighter.

Now we take texture leather brushes.
In general, half the success depends on the true brushes. Never paint natural skin with ordinary round tassels. Because the skin has a porous structure and color, mixing with each other (light-shadow), as it were, in grains merge into each other. Take any high quality ref skin and you will see it. Round brushes so it is impossible to merge colors.
Therefore, many thanks to the one who created such wonderful brushes to help us.


(click on image to enlarge)

We lower the transparency brushes up to 75%, and paint over our “slots” left by us between color combinations, we try to create a soft, melting transition. Always take a dark color of the two connected.
Our goal is to show a bulging forehead with the smooth skin of a young girl, so if somewhere there were sharp transitions when painting, use the same brush tool. ”finger and disabled layers. Intensity choose yourself. I have 75%.


(click on image to enlarge)

Go ahead. The girl will have grassy green eyes. We will throw their weak, almost elusive reflexes on the soft skin around the eyes, while drawing the eye sockets.

When drawing clearly defined places (nostrils, mouth line), we use the usual round brush.


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Rubbing the nostril hollows “Finger. The brush is normal, round and soft. The shadow should gently “fade away.”

Immediately, playing with the transparency of the texture brush, detail the corners of the mouth. The corners of the mouth always have hollows in their ends, this highlight very soft shadows. Since this is the mouth of a young girl, the line of the corners of the lips will not have folds, wrinkles and sharp shadows.

Shadows of the neck are drawn, making strokes without touching the face line!


(click on image to enlarge)

To do this, you can still “close” the whole face with the tool.quick mask. Then your manipulations “Brush and “Finger, Do not touch the clear line of the face, and will not smear it.

The neck of a girl without wrinkles, smooth with soft shadows and volumes.

Lips. As already mentioned, our lips are clear, elastic, without sagging and blurring of boundaries, so characteristic of old people.
First, collect the palette of lips. The second step – on a new layer, UNDER LAYER WITH A FACE, create the background of the lips, paint it with a uniform, neutral color.
On the layer with the face, we begin again to outline roughly the shadows, the mouth opening, the folds of the lips …

Through this all, we will see through the background color of the lips.
Now, take “finger (44%) with the included layers, the brush is round and soft, and we begin to gently join, grabbing the lower layer with the background skin of the lips.
The movement of the “finger” should be clearly rounded, repeat the anatomical bulge of the lips. Shadows (red arrows) are also gently shaded by anatomical bulges.
Do not forget about the glare, which is on the folds of the lips.

In order to create the illusion of more clearly defined lips, we take the “clarifier”, with a single-pixel brush, in the mode of “middle tones”, draw the “white line of the mouth” (medical term) like this, then gently blend it with the “finger”.

This is the beauty we have at the moment:

We turn to the eyes of the “mirror of the soul.” Already said earlier that the eyes will be grass-green, this is how I saw this young face.
We will have only two working colors. The main grass green and dark color of the same shade. Having painted a solid iris with a round brush, with a dark color we draw a rough edging of the iris, and on the new layer draw a black circle of the pupil and leave it over all the layers in working with the eye. Then, in “soft light“, we draw the circle of the pupil and blur it with 100% blurring. There should not be a clear boundary for this circle.

Now take a hard 15% round brush , tool “finger and with sharp, tearing movements we draw our “pupil shadow” like this.

Create a glare. A new layer in the “soft light” mode and draw two highlights, the top (it will give a shadow from the upper eyelid) with the dark color of our eye palette, the bottom highlight with the main color. Opacity is 100%. Gently blur the glare “Gaussian Blur“1.7.

Now, with a stiff round brush, the finger tool, movements toward the center of the eye, we smear dark rays from the edges of the eye. Tool “blur with an intensity of 13%, we soften them and the iris itself. Movement to mitigate the iris, i.e. circular.

White of the eye. In fact, it is never white! It is a mistake to portray it as pure white. Even in bright light, it is bluish with reflexes of the iris, and in our picture three reflexes fall on the squirrels: the iris itself, the eyelid skin and the hair, for they lie very close to the eye.

Red arrows show brush movements when coloring a squirrel, green shows a dark shadow of a squirrel from the skin of the upper eyelid, pink is the third eyelid, do not forget to draw it (better looking at the reference for the beginning) and blue is the bright mucous skin of the lower eyelid. Everything is not so difficult, and all this is detail, without which your eye will never become realistic.

Tool “Blur with an intensity of 13%, gently correct the especially sharp spots of the eye.

Dimmer in “midtones”, gently darken the indicated places, creating a slight accent on them.

On a new layer, in “Multiplication“, transparency 44%, with the main color we draw the half-circle of the shadow of the upper eyelid, blur it”Gauss“as on screen (1,7).

Again a new layer. Create a highlight. A common mistake in the glare, it is their pure white color and contentment vague smear. In fact, the highlight wraps around the place of the eye where it is, and has a focus, i.e. point of concentration Therefore, we draw a highlight and “finger” with a slightly bluish-green color, carefully simulating the roundness of the eye, dissolve it in the general background.

Similarly, create a second eye. Not forgetting that he is in the shadows.
Rigid round brush draw cilia. Where necessary, pritemnaya them.

Eyebrows I draw them like this: when drawing skin, the eyebrow area immediately makes it darker, then I take the tool “Dimmer, hard round brush, medium tones tool mode, 16%. Brush movements should mimic the growth of eyebrow hairs. In their beginning, they are thicker and thin out by the end of the eyebrow.


(click on image to enlarge)

We finish the portrait by painting the hair. There are a lot of lessons in hair, like a technician. The main thing is to remember where the light falls from and how it is (soft, sunny ..)

Well, in theory, that’s all, our girl is ready.

Author: Logart.
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