Eyes 2: Photoshop Demo

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Okay, let's do some charcoal style eyes. In Photoshop. When I was a kid, I always wore glasses since I was maybe six years old. And I remember I had a patch. And that was like, you know, totally weird, really humiliating. And that was supposed to help my weak guy because I had a weak guy.

And so the fix for that was to wear a patch over the good eye to make the other eye. You know, do some more work. And so that's kind of what it what it did. I guess if you persisted with that. It might have worked, you know, because they have those pinhole glasses. pinhole glasses, right?

Like glasses with a bunch of million pinholes and then just wear that and it makes things clear because it it closes down the the aperture like on a camera, right, if you close down that aperture things are going to get, you're going to have a wider depth of field that things are going to be crisper and clearer. Over a greater distance, right. So it's kind of like that if you put on those pinhole glasses, it's actually pretty amazing. things do get clear. without wearing your glasses, you're just wearing this lenses that have a bunch of pinholes in them. And that's pretty cool.

That's like exercising your eye here. If you do that long enough So we're just doing Johnson eyes. Instead of, you know, we've been sort of analyzing these eyes. Now we're gonna draw it put all that knowledge to use otherwise it's it's just technical. You know, knowledge. That's Yeah.

Okay, but then you've got to make beautiful art out of what you what you know. Right? Isn't that the point of it? I kind of draw once you know, trying to get a little shadow going over here, there we go. And then Have that upper lower lid. It's in there tight tighter line.

These pencil tools in Photoshop they're a little clunky You know, they're not as good, let's say as precise as a digital round brush in Photoshop, but the digital round is just so digital right? It just looks like you know, a technical machine sometimes to clean but it's really good for tight small lines whereas the it's not so much with the pencil tool in Photoshop it's you can't get too small with it. Once you get start coding small with it, it just goes away. It's like not there. I'm using like this blender a couple of different blenders. You know, so those are pretty, those are pretty cool.

They, they really kind of make it you know, go to the next level so it looks okay with the, you know the brush looking like a pencil or charcoal. But once when I use the blender, it really goes to the next level and actually makes it look like it's charcoal smudging beautifully onto that. Charcoal paper cans on paper or whatever. Okay, so now I'm just going to tighten up a little done my first pass of kind of the big shapes, spacing, placing stuff, and I'm going to go for it with a nice, tighter line. See, we see that upper lid and we see the underside of the upper lid there. And then we've got the iris here.

Now I can draw a round circle and draw an oval because I'm looking up at it. So it's going to be ovoid a little, it's a distorted circle. And then I'm going to put my black highlights right there. I want to look you know, I don't want to put them over here on the outside or over here. I want to put it right there in that spot. Cuz that's where the window of the soul is.

Now I'm gonna grab that well let me see him. Bring that shadow over that lid, lower lid and then into the tear duct. This just a little bit cross hatching into this shadow side of Bravo. And then I'm gonna hit my digital hard brush and pop in that highlight. And I may have to go to another layer for that because, you know, I'm using the mixer brush tool, and it's just it's mixing and it's doing some weird stuff. It's like you can't go over it the way you want.

I'm going to put the dark part of the people right next to that, highlight that specular that'll make you look right there pretty much. Now go back to that lower layer and just kind of let's just fade out that. I'm gonna use my a fade out bash. Okay, let's go on to To another eye. So usually, you know kind of draw something like an eyeball in there. Right, just really loose headlight.

And then I'll pull the top lid over and then I'll bring it you know, this is kind of a three quarter I saw this bring it into there's some getting that nice underplaying I'm getting the angle of that upper lip and since the eyebrow and air The Iris pupil I usually put the people in last because it just looks too weird. If I put it in, I have to kind of like sneak up on it and let it emerge. Otherwise it looks funky. I'm gonna use some straight lines here on that outer edge of the lower lip because it's, you know, two parallel. curved lines are hard to get. But if you have a curve against some straights actually works pretty well to get around a curved surface.

At least that's what I kind of think design wise, you know. So I'm going to hit that underside of the upper lid. I'm going to hit a little bit of that determinists were the And it kind of converges and tapers. Then we've got maybe a ridge here, stocking it up. And then what else we got, we got a lower lid. So hit that.

Alright, so I'm usually trying to use a big brush or big charcoal. And then I'll hit it and then go to the next smallest brush or charcoal. Just because I like to let the tool do the work for me. I'm going to get in here and put a shadow there on the eyeball so it looks like it's 3d and turning away from the light. Give it a soft edge there. give this one a soft edge.

And then let's put in the pupil See if our pencil tool can do that. It's okay. I'm going to put that Hydras into and I'm going to need a tight line and there's the shadow over the eyeball over the IRS. Let's get IRAs defined here. But so it can be like a kind of a straighted. Thing darker.

Next to the lid that's casting the shadow and then kind of a gradation rate that comes out. Then it's lighter on the lower part of the house. And then I'm gonna strengthen up that was go to my digital hardware and just strengthen that up right there, because that's why I'm gonna watch looking kind of right in there and then that goes right into the eyeball or the sclera. And we'll pull that right into the tear deck to pull the outer part of that upper lid. So we get some thickness, right? So we got front part of eyelids at the eyelid here.

And then we've got under parts of subprime and then it goes under, right. A little bit off here, squeeze out a little more dimension. got those tight crevices where the eyelid backs up against part The bone I have the eyebrow and I can give this just a little hint that's why the eyelashes would be right and a little more shadow into hair some come back to my pencil and hit it right in there. Just thicken that up. So it's kind of Yeah, that's what eyelashes would be and so on. That's kind of what I do.

Instead of john budget eyelashes, alright, now we can go really go focus in on that pupil. Okay. Here I'm just gonna hit right, because that's going to be showing that it's, you know, moving away from us just with a modeling tone they call it just hit that again right there and pop in a nice I like you know this highlight she's put them in, especially if your oil painting is put it in and leave it. Don't mess with it because that's when it starts to mess. Goodness stuff. Put it in, leave it good.

Trust it all right I'm gonna let the rest of this play out with some music enjoy

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