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旋齿鲨




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Instructions: Having just said that the face has shape even without the eyeball, that doesn't mean we can skip it altogether, does it now?
Let's sketch it in. Don't use white, use a mix of pale grey-beige and then brush over with the skin tone - I've found that this combination very closely resembles the actual colour of an eyeball (the skin tone is generally reflected on the highly glossy surface). Do not add highlights to this eyeball yet. It's a waste to work in the glossiness at this point - it'll be painted over by the iris and pupil anyway.

What's more important, though, is that the eyeball's shape is consistent with the shading you've done on the eyelids. If you've been thinking right, it should fit right in. If you've messed up, the eyeball will look like a golf ball pushed into an ill fitting hole. Keep imagining the round shape of it, and if it helps, sketch the outlines of the round shape on a separate layer and then shadow the eye below it accordingly.

Common Mistakes: Pure white for the eyeball.
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Instructions: The iris is completely round. For the most part, some of it will be hidden by the eyelid - if you hide only a little, the eye will look widened, shocked and staring (such as in the example I'm painting here), while hiding half or more will give the eye another expression altogether: perhaps indolent, seductive, sly.

Like the eyeball, never cease to imagine the iris as a round thing. To make absolutely sure, always paint the full round thing on a separate layer and then simply erase the bit that would be hidden by the eyelid. Like previously mentioned, we see the eyes, and we definitely see if something's messed up. A non-round iris will make it look alien and crooked - a neat thing if that's what you intended, but not so neat if you are aiming for a natural look.

So, pick a dark, random colour (nothing too extreme) and paint in the iris. Then on top of that, paint a lighter colour that will leave a slightly darker edge. Not all eyes have this darker edge at the outskirts of the iris, but we're settling for it this time around.

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imilarly, the pupil is COMPLETELY round, no doubt about it. Paint in a round, dark circle in the middle of the iris. Just for the feeling's sake, dab a blotch of white on top of the iris and pupil, just to see how it would feel. There's the eye, suddenly a little glossy.

Common Mistakes: As previously mentioned, there is a tendency to make the iris less than round.
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Instructions: There are no dark sketch-lines in a face, so it's time to get rid of them. There are two easy ways to do this - either you simply delete the layer, or you do as I did here: paint over them. I've found that painting over something rather than simply deleting it occasionally helps the liveliness of a picture. So for the sake of this exercise, paint over, don't delete.

What we have after we've done that is an eye that likely looks slightly messed up. We've used the lines as crutches, forgetting to shade the folds instead of letting simple lines do the talking. So the next mission is to do the highlighting and shading in the areas that are now looking stupid. For this, I use a brush that is either just a hard edged round one, or something similar to this:


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[10 楼] | Posted:2008-02-12 16:47| 顶端
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(I've found that this brush is excellent to blend colours with, either as just painting, or as smudging)

Do not forget the fact that the bottom eyelid sticks out a little. It doesn't fit flat agains the eyeball - we need a little 'rim' to show that there's a shape to it and it's not just pasted in place. Paint this 'rim' (just above the lashes) with a vague pink colour slightly lighter than the skintone below.

Also, it might be a good thing to scribble the eyebrow in at this point, because once the lines are removed, chances are it looked like a dark blur. We'll fix it up more later.

Common mistakes: Leaving the lines in or mimicking them once they're removed.
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Instructions: At this point, pick up a mirror. Look at the eye in the mirror, and notice that the white of the eye becomes pinker as it reaches the corner of the eye, and that the pink isn't entirely flat in shape right before the corner. We need a little glossiness here, a little colour to make it believable. A tint of blue added to the eyeball colour, and then some very soft, smooth touches of a round soft brush to pick out little highlights here and there. Most important here - be careful, chances are you'll overdo this area and end up with an eyeball that looks textured. This isn't the point. Point is, adding little touches of realism. Also, redefining the shape of the eye at this point, and adding more detail to the eyebrow and the corner of the eye is almost a must. I've found that the realism is sometimes helped by further enhancing the shape of the corner of the eye by highlighting around it (take a look to the immediate left of it, you'll find a little highlight there). Try to work in more colours. Try to find little oranges, blues, reds and purples to discreetly add here and there for a more skinlike 'feel' to the area surrounding the eye.

This is where we start thinking about the iris, as well. The iris is a textured, wonderfully intricate thing and usually what makes an eye 'fly'. The first step to defining it would be just adding a very sloppy dark shadow at the top of it (from the eyelid, remember that it sticks out a little.


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[11 楼] | Posted:2008-02-12 16:50| 顶端
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Common Mistakes: Forgetting to define the corner of the eye, or even leaving out that area altogether.
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nstructions: Do a new layer. Set new layer to 'soft light', and paint with a dark, ruddy colour to emphasise the skin tone. This will make more difference than you know. Paying special attention to the eyelids (the lower one in particular) and the area underneath the eyebrow. There is a vast difference now that the skintones are picked up. This sort of alteration goes for any kind of detail in a face, especially the bottom of a nose, around the nostrils and the eyes, but also the corners of the mouth and the side of the nostrils.

In this step and the one before, I've smudged the eyebrows a little with the brush I previously showed.

Common Mistakes: Forgetting about skin tone variation. A face and all its details looks dead and flat without such small devices.

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Instructions: Continuing on the skin tone variations around the eye, make yet another layer above the first one, and now add textures. Use a small brush with pressure set to opacity and shape and just scribble away. The eye in the example is slightly exaggerated, but the practice is the same. Skin is NOT just a smooth, polished-stone texture. It's not porcelain. Do not forget to at least hint at the texture and the pores, sometimes only with little skin tone variations. I'll happily say that I learned this from the 3D art forums - watching all these marvellous artists work on the skin textures, and then in the end asking myself: why didn't I think of that?

The good thing about keeping the texture layer separate is that you can use a soft eraser to make some patches more transparent and others more opaque, giving a lively, 'real' look to it. Add a few birth marks while you're at it.

Common Mistakes: Leaving the texture out altogether. Big no-no.
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Instructions: Paint the lashes in by using a hard edged little brush with pressure set to size. Keep them just a little bit scraggly, and don't paint them too long. Keep them on a separate layer. (A good thing to keep in mind is that the lashes rarely sweep out
owards the outer corner of the eye, as they are often depicted to. Most of them will be curving downwards quite naturally).

After this has been done, use a combination of a tiny smudge brush and the eraser to soften the sharpness of the lashes. Rinse and repeat for the upper eyelid, but in this case remember not to point the lashes straight up, as this has a tendency to look unnatural.

Common Mistakes: Painting eyelashes as unnaturally long, and forgetting to taper them off at the end. Even worse, forgetting about the eyelashes altogether for a creepy-eyed look.

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Instructions: We're getting there! The iris is a plethora of textures. If you pick a mirror up and stare at your own eye really closely, you'll see that it's not even just the diamond shaped textures radiating from the pupil, but that they're layered. Layer upon layer of delicate little coloured shapes. Not an easy thing to mimic. We'll try, though, by painting little soft strokes of colour upon one another, not erasing if we make a mistake but just keeping to paint over, paint over, paint over for that right textured, deep look.

In the end, I decided to break the highlight up as well, just to make it look a little more realistic. It's a good thing to think about the light conditions of a picture before deciding where to place the highlight and what shape it should be, but in this case, I just smudged it a little and added the faintest possible touch of blue to it (I doubt you can even see there's blue there, but there is).

Common Mistakes: Making the iris look flat by painting only one layer of texture and using only one colour with different brightness.


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Instructions: There's not a lot to say. For the final step, look the picture over for some things you might want to change or do differently - in this case, adding some more shading and shadowing to the eyeball itself as well as adding a touch of gloss to the iris.

I hope the tutorial has been helpful. Best of luck with your eye-painting.


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[12 楼] | Posted:2008-02-12 17:08| 顶端
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Lip tutorial

I want to state, first, that every individual pair of lips is painted differently - because the light sources in paintings vary, the skin colours are different. The shapes of the lips are wildly different and the shape of the face surrounding the lips highly affect the appearance of the mouth. Having said that, this is much like my nose tutorial - just a little explanation on how I sometimes go about painting lips.

Step one - Light source and general shape
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Since we're just doing the lips now and not giving a drat about the rest of the face, focus on where the light source is... and what the shape of the lips is. I'm picking a pair of pouty, full lips for this demonstration - because I can go wild with the highlights on a pair of lips like these.

Something some people seem to forget is that the line separating upper from lower lip is rarely 'straight'. The very shape of the lips is usually curvy and smoothly pillowed. I just love lips. Aside from the eyes, they're the most expressive part of any human as far as I'm concerned, and there is a whole lot of sensuality in the look of a mouth (be it thin-lipped or full-lipped or any shape and form - you can make any or none of these look very sensual and appealing). Picking the colour of the lips is easy for the most part. Without lipstick on the lips, you can just take the skin colour - make it a little darker and colder (more red, if you will, less yellow) and you'll be home free.

Step two - Thinking about surrounding shapes
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Like I said previously, a lot of different factors play in when it comes to the looks of a pair of lips. Whatever else you're doing right now, do NOT paint in the red lines I've sketched on the picture. I just want to point out a few surrounding shapes that will highly affect the appearance of the mouth. The chin and the area right above it. The little dip just above the lips, and the lines (if any) leading from the nostrils down to the corner of the mouth. If you paint a pair of lips and you neglect shading the surrounding area, you'll get a pair of REALLY flat looking lips. They'll look stupidly pasted onto the face.

Step three - Finding the surrounding shapes
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So, step three is a matter of shading. To make the lips pout, and for you to find the highlights and the shadows on the lips easier - it's a good thing to get the surrounding shading down here. This step makes such a huge difference that suddenly - without altering much about the lips themselves - what was just a couple of flattened-looking pink worms suddenly look like an appealing set of lips. What I did was to add massive shading to the left of the lips, to pick out a fine looking chin and deepen the dip above the lips. I only added a couple of bland highlights to the lips themselves (on the two 'pillows' on the bottom lip), and there's already a major difference. I'm using a slightly warmer (and of course lighter) colour for the highlighting on the lips at this point.


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[13 楼] | Posted:2008-02-12 19:52| 顶端
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这是上面没看见地图插画中国原创插画 http://bbs.chahua.org
Step four - Softening the shapes and finding the lips


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[14 楼] | Posted:2008-02-12 19:54| 顶端
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Step four - Softening the shapes and finding the lips
Here we're basically softening the sharp sketch-highlights and lines. There's a pair of fine lips hiding in the clumsy shading and I'm trying to find them. Where I've worked with big brushes with rather soft edges before, I now switch down to a smaller spackled brush or a hard edged medium sized brush and I use veeeery light pressure as I move from curve to curve with the colour picker ready to pick up every available colour for me.

It's a matter of blending and finding the right forms - the thing with a pair of full lips like theses is that there isn't really any sharpness to them. You'll not have sharp edges and crisp lines. Better get rid of those stark whatevers and find the soft and lush forms instead. I've also added some light additional shading where the upper lip will be tilting towards the teeth, and very discreetly, I've begun to pick out the shape and form.
Step five - Contrast! Fullness! Highlights!
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So I've been all gentle and careful so far. Now I blast it with some more daring highlights and shadows - I'm really digging in to find the shape of the lips. Exaggerating, even, especially on the upper lip - I want that top lip to be pouting, I want it to feel fleshy and 'real'. I can see, looking at it, that the highlight there is way too bright for the lighting - but I'm going to leave it like that to refrain from forgetting about the shape I need to remember is there.

I've now found the perfect curve of the upper lip and it's in harmony with the bottom lip. I darkened the left side of the lip rather drastically - remembering my light source, again, and deciding that the tilt of the upper lip towards the teeth will make sure most of it is shadowed. The bottom lip doesn't catch as much shadow - it's a 'fluffier' pillow, more fleshed out.

Step six - Removal of unrealistic sketch-lines and details
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[15 楼] | Posted:2008-02-12 20:04| 顶端
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Anything I sketched in to keep track of the shape is removed at this point. I simply paint over the unrealistic highlights I painted in on top of the upper lip in the very first step. I also remove the sketch lines that were defining the shape of the lips - if I've been doing my work so far, I don't really need them at this point. The lips should have a shape all of their own now. I should be able to see the fullness and the form of both upper and lower lip without any aiding lines. Instead of lines, I draw in a few shadows and more natural highlights. On these lips, I use a rather brown colour for the shadows rather than a more reddish tone if I'd been going for makeup.
Step seven - Further definition
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At this point, I generally have a really good feel for what kind of lips I'm going for. If you study your lips in the mirror, you might notice that there are highlights not only on the lips themselves, but often around the surrounding area (and we should try to find those - especially if the look aimed for is of the sensual and voluptuous kind). Defining a pair of lips is both about adding shadows and adding highlights.

In this case, I further added to the shadowed part of the face, but I also went ahead and added more highlights above the upper lip as well as below the bottom, close to the corner of the mouth. I've found that this often adds to the 'glossy' feel of a pair of lips.... and there usually is a narrow edge of skin there that is part of the lips as far as the shape goes (slightly pouted, if you will) but doesn't have the same darker, more pink colour as the rest of the lips. This isn't necessary, but I'm doing it here - it's often a sign of a pair of very full lips. Furthermore, I'm doing something about the utterly ugly highlight at the peak of the upper lip - I remember that I should emphasise the shape there, but I use a mix of a more bland highlight and surrounding shadows to pick it out. I'm also defining the
dent above the upper lip further - this also adds to a pair of convincing lips.

Step eight - Sharpening and redefining highlights
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So, what did I do now? Well, I decided that the highlights looked boring and blurred. I decided I wanted the 'high point' of the bottom lip to be a bit further up. What I actually did was to take a sharp edged brush and very gently paint over the old highlights, and then I repainted sharper highlights with quick, sweeping motions. I used a mix of pink and (believe it or not) green and yellow to achieve the colour on the bottom lip's highlights. I used a colder shade of pink and a touch of blue for the top lips highlights? Why? I can't quite say - I felt like it. The upper lip is more coldly coloured if you take a closer look at it - I felt it demanded a colder coloured highlight.

Step nine - Definition, definition, definition
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[16 楼] | Posted:2008-02-12 20:08| 顶端
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Did I already sharpen the highlights? Not nearly well enough! Thing is, lips are all soft curves and plump shapes, but I've always found that brighter highlights with occasional sharp (when compared to the much softer shadows and midtones) edges really make a pair of lips 'pop' (and I mean that in the good way, not the 'exploding silicone lips!!' way). In this step, I went over every single highlight and defined it further. I imagined the lines leading vertically over the lips and I picked out glossy lights reflecting on these.

Step ten - Texturing
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So, among all these glossy highlights and smooth shadows, I've neglected any kind of texture to the lips. What needs to be done is to pick a small brush and then go over the lips like a madwoman - using the colour picker to snag colours from left and right - and 'prickle' the skin with a myriad of little dots and colour variations. Break the highlights up, bring some interesting variation to the shadows if you will. If you're having problems with the texturing the first time around, do a few textured, spackled brushes and apply them on a couple of different layers with the layers set to soft light and multiply.

Step eleven - Finishing off
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There's little to say about the final step. When you finish the lips, you might end up deciding against some part of the shape you were previously very fond of. I decided, here, to shade the upper lip further - taking away a little from its plumpness but, I think, instead adding to mystery of this particular mouth. I add more texture, in particular to the more shaded parts - picking out a few highlights on the darker side of the bottom lip, for instance.

Mostly, the final step is just about looking at what you've done and deciding whether it's what you wanted or not. If not - I suppose you should have made any major changes in the earlier steps but it's never, ever too late to repaint, redo and remodel. Anyway, good luck with your lip-painting :) I hope I've been a little helpful.


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[17 楼] | Posted:2008-02-12 20:12| 顶端
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这是另一个人地
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[18 楼] | Posted:2008-02-12 20:23| 顶端
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