Step 3 For this next step, I create a new layer that is put on top of the other layers. I then set this layer to Soft Light, choose white from my color picker and begin blocking in lighter values. At this stage, I want to control my lights, my goal here is to softly bring in a little light and slowly bring out shape and form. Because my layer is set to Soft light, I cannot get a pure white. Think of it as if you are sculpting, chipping away small pieces until the form appears. I’ll usually save my bright highlights and whites for later on in the painting and start first by establishing my darks and working lighter from there. This stage is simply for me to create a balanced foundation for my block in. Stages 1-3 take 5 to 10 minutes at most to complete.
Step 4. This is where the painting becomes a little more complicated. I am now ready to start blocking my painting but first I need to create a color palette that has harmony. As I said earlier, my main priority is getting the values to look correct. I know that if I can succeed in that, I can do just about anything with the color. I want to create a variation of red, yellow, and blue. As you know, with these three colors most color can be created. You’ll notice that in this painting I do not have any pure colors, instead my colors are more earthy.
To create this palette, I make a new layer that will remain on top of all my layers from this point on. This layer will be used as my “palette layer”. I select my eye drop tool and eye drop a red-brown color from my background. I then click my color picker and choose a few more reds based off the red-brown that I chose and create a small grouping of flesh-like reds and browns. I do this by squinting my eyes while looking at my photo reference and then choosing color according to the values I see while squinting my eyes. When I squint at my photo reference I see oranges, greens, violets, and blues. I create those colors and mix my red-brown color into them to create harmony. This technique is similar to the “pigment soup” technique that I’ll sometimes use when painting with oils.
I now create another layer that will go directly under my “palette layer” but will be on top of all the other layers. I now begin to paint on top of my block-in. Everything up to this point will be used as a guide for me to follow as I build up layers of color.
The first thing I want to do now is establish my darkest darks, and block those in. I still haven’t zoomed in and I continue to use a large round brush. My technique when painting digitally is very similar to how I would paint traditionally with oils. Start with the bigger brushes, block in largest shapes of darkest colors and as the painting progresses, use smaller and smaller brushes. Also, never stay in one area too long, painting from a distance with larger brushes will help you cover more ground quicker.
Step 5. Now this is where the painting begins to come to life. I continue the same process as in step 4. Squinting my eyes, I look for the lighter values and with a larger round brush I block in lighter values. I have also begun to block in a bit of the background as well. The background is important to establish early on in the painting. It should complement the portrait, the colors and values of the background will affect the colors and values in your portrait so it’s important to work back and forth between the portrait and background while blocking in.
Step 6. As the painting develops, I continue with the same approach, squinting my eyes and mixing color to match the value and temperature that I desire for the piece. Now I can zoom in a bit and begin to render in details, such as the eyes nose and mouth. I’m still using a round brush at this stage, but a much smaller brush as I get into the details. Move around the painting, blocking in the entire piece all at once, as to get a better feel of the piece as a whole.
