Make sure you watch the segment where we go over the construction of the features. And now I'm going to show you how you would take that overall structure and apply it to the painting of the forms looking at the eye first. So I'm going to start with the center of interest eye. It's really important when you're painting a portrait to choose one eye, which will be your center of interest, so you won't render both of them to the same high level of finish. you'll choose one and have that one be higher contrast and have the highest level of finish. So I'm going to start with my center interest I. I'm going to start by restating the lines of the eye that follows the construction that I talked about in the handouts, and I'm using a warm dark color.

So I've got some of those are impermanent and some brown some of the B's shadow color brown, and I'm just going to read State this line of the eye. So the three angled straight lines that make up the crease of the eye, starting a little bit linear. I'll go into the line of the upper eyelid which is also the eyelashes and just restate that line with a darker. This is more of a black ish type of color. It actually basically is black. And then I just pulled down from there to kind of create the connection between the top of the iris, that cast shadow that I talked about in the handouts and connect it to the line of the lashes and then the white of the eye is wider on this side because the light source is coming this way and a little bit darker on the left.

So I want to get that definition the description Have the tone here which is a little darker. And this is about as wide as I would go. It's like a gray. And bring in just like even a little bit darker, just towards the top of that eye there. That's the cast shadow of the eyelid being cast onto the eye. And then going into the iris.

I've got hazel eyes, so they're around ish, maybe slightly greenish and parts. And the colored part of the eye actually shows in the bottom part of the eye because the top part of the iris is being obscured by that cast shadow. So we see the most colored part in the bottom part and actually it's the bottom Part opposite the light source. So I'm actually going to darken ever so slightly and desaturate slightly more here so that we see the strongest hint of color showing on the bottom part of the iris opposite the direction of light source. During the black pupil more the edge of the iris is slightly darker than the center so I'm just going to wiggle in wiggling to keep the edge soft, a little bit of a darker note at the edge and you can use the back of your brush to scratch to soften the edge even more if you need to.

And then we've got that light rim of thickness that describes the top shelf of the Lower eyelid, so sets to light. So I'm going to go a little darker, you want it to be lighter than the stuff surrounding it, but not screamingly light. And it's a little pinkish as well, and that's still a bit too light. So I'm mixing a bit more brown, and a bit more red in there. So you can see that it's still reading as a lighter top plane, but it's not like super bright. With the lower eyelid, there's the front facing plane of the lower eyelid.

And you can look at having three tones for that. So continuing to work with the idea of describing three tones, so the three plane directions, so we've got a lighter tone on this side, a middle tone through the center and the darkest tone to the left. So as I refine the features, I'm going to be thinking about the planes. And I've already kind of got those three tones established in this, I think what needs to happen is that the transition just get softened a little bit. So I'm just wiggling across the edge to just soften the transition a little bit, and you can use your finger if you need to as well. And then here too, just below the front plane of the eye, there is a little bit of a darker a little bit of a cooler note.

Bringing that in. There's a bit more of a connection, sort of a line that connects that side plane into a little line underneath the eye, the side plane of the eye here becomes what's called a lost edge where you really can't see the corner of that eye. It just all goes into the dark shadow. So, losing that edge, maybe going a little even darker still. And then I'll take the back of my brush and just scratch across it to make it a soft edge. the tear duct has a redness to it and I've already got that actually.

And we can also describe the different tones of the upper eyelid, the different planes. There's a lighter, cooler plane through the center, kind of a highlight getting picked up, middle side plain and then we've got the darkest Left side plain and the specular light which is that white.in the eye. I'm going to dip it into the white and pole in such a way that there's this dangly like piece sticking off, just dangling off the tip and I'm going to take that and just carefully place it right where the light source is shining. So basically if the light source is coming this way, right where the pupil meets the IRS, I'm going to just carefully place that little dot and it's going to be a sharp, bright little specular highlight right there. And I'm also going to take this greener brush, I've got my one quarter greener brush, get some extra oil, get some black, make it nice and oily so that it really can make fluid strokes and I'm going to carefully just bring in the suggestion of some eyelashes, starting with it on the line where the lashes most, the paints fully there and then curling and pulling as they come off to sort of create some subtle eyelashes.

So it's just a soft eyelash suggestion. Maybe one more over here, and they're not big and that you know that it's just a subtle sort of an eyelash suggestion. You don't want to go too crazy with the lashes but just a little suggestion of it can be really nice. I think the last thing is that with this greener brush, I'm going to wiggle along The top edge of this line which is the crease of the eye, so that I'm creating the sense that the top edge of this line softens into the color above it and the bottom edge of that line is sharp, which will make it less of a line and more of a description of the forms. So it feels more like just the form of the crease of the eye rather than it feeling really linear. Maybe the last thing with that eye is that I'll bring a little bit of some lights that are picking up in the front of the tear duct here.

And we can also refine the color above it just has a slightly lighter color in the center of this light and then moving to The other eye as I move forward, I want to just have less contrast in that I am going to start with a sort of cool form of this upper eyelid. Looking again for the plane changes so it gets a little darker as it rolls towards the left kind of tucks into the shadow side over there. It also gets a little darker that rolls to the right. I can carry the white of the eye on the side up a little higher. Next I'm going to go into a little bit of light at the tear duct and also that lighter shelf to the top of the lower lid and then describing the lower lid. It's like this eye the white of the eye rolls back and gets really dark in that back corner.

So I'm going to bring a darker sort of a vertical note in there and I'm going to wiggle across the left edge of it to make it blend into the white of the eye so that the white of the eye is basically getting darker, darker, darker, all the way up to that little dark line there. And I'll bring a little bit of a darker edge to the front plane of the lower eyelid. And in the iris, I'm going to cut on the pupil more of the iris color. Again, the iris gets darker as it moves towards the top. The upper eyelid just redefining the lower eyelid here. And then I'm going to work around the edge of the IRS bringing just that subtler, very subtle, very soft edged, darker note that occurs around the edge of the IRS.

I'm gonna scratch with the back of my brush on some of the places where colors are meeting so that it's all just happening in a soft way. Getting that cast shadow on the top of the IRS. That's really important. It's one of the things that we don't see that clearly but knowing that it's there will help you to put it in and then it'll look right. And there's the gray of the eye, the white of the eye showing that I need to get in here and keeping it nice and dark. And actually the shape of the white of the eye cuts a little bit this way.

And I can get away with putting a slightly lighter way to the eye right here, but it's still pretty dark. Right now there's a bit of an outline showing through if you can see that I'm going to cover that there's no real line on the bottom edge. A little lighter there. And I think it's well set up for the eyelashes. So I'm going to take that oily black color Just do a couple curling airplane strokes to create the soft edge that suggests the eyelashes and then the specular highlight on that I'm going to make it a little bit darker than the first die because you want the center of interest I'd have the highest contrast. So this is a little bit of a gray ish white.

And I think Lastly, I'll just dark in the red In the tear duct just a little bit so that we can see the triangular shape of it there and from the eyes, we'll just move into the area surrounding the eye. I think I'll just refine this a little bit. Going to refine the color of this little band of flesh showing back here. Could be a little darker, a little cooler. Actually, I can also go in with the eyelash, there's a shape that overlaps right there with the eyelash. And I think I'll also bring a slightly lighter front plane here and make a softer transition into the shape that's showing here which is describing the eye socket.

The greener brush is really good for doing eyebrows. It'll create a nice soft, you know Like stroke. So you could do a couple strokes like that. And that basically shows you how to refine the eyes. So take your painting up to that level, get the eyes in And next we're going to move to the nose and