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Having those irregularities start to really refine some areas. 16d). hair that’s obscuring part of her face, as well as the small braid. I’m still using a speckled brush Happy with the hair, I go back to the face for a at this point, with settings as before, but a much few last touch ups. I feel the lips need a bit more smaller size, as well as another custom rough work, so I set about detailing them with a small edged brush with Size, Opacity and Flow Jitter Round brush, with Size Jitter and Opacity set set to Pen Pressure, and Angle Jitter at 25%.

At this point I can already reduce the you get it right. 05). 06a – 06b). com page 53 Issue 061 January 2011 Chapter 03: Female Portraiture Having pulled the face off the canvas a little brush (my favorite rectangular one) adds instant depending on what gives me the best results. 07). As I want to see what the whole image would in the background. More often than not with look like if adjusted, I duplicate and flatten it, portraits, they don’t need elaborate background Before I continue refining the details of the then do some test adjustments.

The easiest way to go about doing that is using a speckled brush with Opacity and Flow set to Pen Pressure, and Size Jitter switched off. 16a). 16b). The I just keep at it, working on finer and finer Once that is done, I can look at the skin texture. layers get merged quite frequently and new sections of the area I selected to refine, This is the really fun part, because the effect ones added, but that’s just how I work. If you while the other parts of the hair get less you can achieve with some simple texturing prefer to keep all the layers separate, that’s fine attention, though I am still working on them is amazing.

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