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firstly, here are my two staple brushes. you can find the second brush here, i modified it by making it larger.

the lineart brush is very good for easy sketching and simultaneously cleaning up that sketch to produce the final lineart you'll be using in your piece. the diffusion from the erased parts/the diffusion created by lowering the pressure of your pen creates a light graphite effect which i enjoy! give it a shot.

you'll notice quickly that there are lighter strokes throughout this lineart, these are simply acting as rendering guides for me in order to remember certain placements. i erase/draw over these lines a lot.

i initially learned to shade skin on a completely grey background with very slight orange undertones, and for a while this was very helpful in providing the most objective view of the base colors you're using (objective as in free of being effected by colors of different values). as you might know, using a white background for dark skin will seemingly darken the value and dim the vibrancy of your base colors, and using a black background will do the opposite. if you're using a darker skin tone, you want your canvas shade to be of a value that is proportional to your skin tone to avoid the same problems created by colors with too light or dark of a value. now if you're using a screened device to draw, you have the extra burden of screen reflections/wavering color output on different screens, so you're never really sure if the exact color you're using will be consistent across the board. priming your canvas with neutral colors will help with that. whereas priming with more vibrant colors will slightly change the undertone of your skintone (especially if you're using a low opacity brush), but it makes for a funner canvas and more creativity with your color palette imo. if you're a beginner i recommend you stay below the wavy line to avoid too light of a canvas shade.

for these same reasons i avoid keeping my lineart jet black. when you lay down the base colors under a black lineart it can look very unfavorable.

here are some skin tone variants that i tend to use the most, peep how i never wander off too far to the left of the spectrum where the reds are. i definitely favor red-oranges as compared to green-oranges for my skin tones, however, because i stay primarily on the left side of the color spectrum for my rendering, red can quickly become too much too fast. so i make sure to use a skin tone that can work very well with green-orange shadows. for this specific piece i will use the third shade (#2d1606).

heres where the gouache brush comes in handy. i use it very loosely to "prime" the canvas almost. if you've ever done oil painting you'll realize very few artists draw directly onto a completely white canvas, though i've already primed my canvas essentially by changing the background color, i loosely shade over it with the skin tone color using the gouache brush. i find this gives me a better grasp on the composition of the piece due to increased harmony between the canvas and the skin color. it also looks really cool to me and resembles a real canvas almost.

as stated before, priming your canvas with neutral colors (grey) can help give you a more consistent view of your base colors, when you get the hang of understanding the colors you most often use (i.e, how they interact with other colors), you can start using more vibrant and fun colors to color your canvas with! the gouache brush changes opacity depending on the pressure exerted by the pen, if you zoom in you'll notice patchy areas where the canvas color bleeds through the layer more prominently than it does in other areas. for some people this might throw off the consistency of the shadows, but you should be fine as long as you're using a consistently opaque brush (which we will be doing)

i know i recommended beginners use a grey canvas like i did, but since this tutorial is using my techniques i figured i'd also teach you guys how to use variantly opaque brushes to your advantage. we will be drawing on the pink canvas from here on out.

a reference is so helpful, i still rely on references to guide my shadows/lights. i'm past the point of relying on references for exact coordinates for rendering or lineart, but they are still incredibly helpful. in most references of darker skintones you come across, color dropping directly from the picture will give you very grey colors! we want to prioritize vibrancy in this case, so attempt to formulate your own colors or colordrop and increase the vibrancy :)! keep in mind i'm now using the lineart brush to shade. the diffuse/soft corners of this brush allows fewer pixels to be scattered wherever you lessen the pressure, this is perfect for color dropping medium colors to blend two colors together. you'll see how i blend colors later on.

as mentioned previously, red can become too much too fast- so i avoid monochrome rendering as much as possible by using shadows of different undertones. my most frequent combination is using a red-orange skin tone and then using a green-orange shadow.

the value spectrum will be your best friend in mixing values and undertones, i use it all the time to formulate the best less saturated darker shadow that is proportional (not too dark, not too grey) to my skintone value. if the shadow is too green simply increase the magenta, if you're looking for a "reflective" shadow, increase the blue.

when i begin shading, i always slide the curser to a truer orange color on the spectrum and increase the saturation (slide towards the right) while i decrease the brightness (slide down). heres how it looks when i'm jumping between shadows and highlights while trying to keep my colors proportional (but not identical) to whats happening in the reference ^. i most often times will rely on the value tool, however.

you will notice that a lot of darker skin tones have patches of orange vibrancy, these areas are most common on the nose and cheeks. this is only a detail to pay attention to if you're going for more of a realism rendering style :)

now onto how i prefer to bridge/blend colors together by utilizing the blend tool.

i do not like simply blurring colors in order to blend colors together, it can lead to overblending which can make your portrait look heavily gaussian blurred (think 2010 deviantart art... yea that). the brilliant thing about procreate is you can utilize brushes really efficiently, which include changing the brushes you use for blending. so in reality, artists who use the blending tool on its own can still have portraits that don't look it! there also exists plenty of brushes that have properties allowing it to blend into its surrounding colors are you draw. but in my case, the above photo is 99% of the times how i will bridge two colors together. doing this allows me to keep pretty consistent brushstrokes across the whole portrait, which i enjoy. it also gives me better control of the shapes i use in my rendering, an aspect that is pretty easy to lose when you're using the blending tool directly and solely.

in case the blending process is a bit hard too see, heres that same process recreated with different more visible colors:

now once you've placed your shadows where they generally tend to be (according to the reference photo), let's make those shapes a bit more specific and pick up on smaller details to make your rendering look more complete.

your base colors will never be as dark or as light as you need them to be when you begin rendering, making sure you have a decent contrast between your lightsource highlights and the shadows is key to capturing the essence of a light being cast on your character. it's much easier to keep building upon your shadows before rendering the highlights, i laid down the highlights only to create a guide/help me map my shadows better. do not darken the entirety of the areas affected by shadow, you'll find that shadows are rarely ever the same value, it's a gradual process affected by things like position, height, etc. so make sure the darkest of your shadow colors are preserved only in areas where the shadows are the or should be the darkest.

you'll notice i labeled some areas as "detail", adding very specific shadow placements is a detail. in the reference, the model has a pretty prominent brow bone, creating a shadow over where his eyelid creases just above his lash line, paying attention to feature details like this help enhance the rendering and its realism.

now that i've mapped my shadows i'm going to move onto to rendering my highlights and the region of the face where the lightsource is most prominent.

i described shadows as a gradual process earlier, this is because of the lightsource. light tends to spread when its further from the affected surface, creating a larger area affected by the light. of course, this varies depending on how intense and how close/far the light source is. in this case, the light is being casted above him further to the other side of his face, but again, remember that the face is not 2d and more prominent areas are affected more by light. it's due to this that there still exists a, albeit very minimal, shadow beneath his cheekbone. i exaggerate the shadow here for stylistic purposes, but it also helps in keeping me uphold that contrast between the highlight and shadow once again. so i refrain from blending the light into this area like i did in other areas.

midtones are the areas most unaffected by the light source, they're neither shadows nor highlights. and because light spreads, it is brighter in certain areas and darker in others. it is most easiest to blend the darker ends of the highights into the midtones of your portrait. you can emulate this by once again using your blend tool. blend the outer areas of the light and colordrop this color and use it as the darker light more proportional to the midtones. note that before i add even lighter shades to the areas where light is most concentrated, i blend what highlight placements i currently have there.

we're going to switch gears now and focus on the reflective shadow occurring on the darker half of his face.

this shadow is a reflection from the lighter background the model is up against, the light being casted above him is allowing for some bounce back from his surroundings, leading to very faint light visible in areas primarily affected by shadows. hence why i'm referring to these colors as "reflective shadows".

in this case, the reflective shadows are blue, or appear to our eyes as blue. on darker skin, "true" blues (blue-purple) are not often times present. what is present rather, is a very grey tone with cool undertones/a grey tone on the blue side of the spectrum, which creates a blue that is much more proportional to the value of the skintone than a true blue. in this case i used a deeper grey on the pink color spectrum, which is more purple. this was intentional, and was done in order to create some sort of color harmony between the contrasted deep oranges im using for the bordering shadows and the blue-grey i'm attempting to emulate.

while i utilize this blue-grey, out've a purely stylistic choice, i still introduce true blues to my rendering. in fact i love using blue/purple reflective shadows in my art, it creates a stunning and colorful render. in this case, i used the blue-grey as a stepping stool to introduce that trueer blue more naturally. you'll see this happening in the second picture above, where i used a slightly more vibrant and slightly more brighter blue, and used it on areas where this reflection was more prominent (and therefore brighter).

you'll notice how the shadows that border on these reflective colors are less saturated and darker than the shadows on his chin. introduce a darker and less saturated (more green) shadow to that area on his cheek and the darkest shadow of this photo, the sunken area near his nose bridge and inner eye corner. i emphasize this line in the lineart so you can follow this shadow more accurately:

this is also a detail in my opinion and can make your portrait more realistic if you include.

we're going to pivot to his neck area before continuing. you'll find the area of his neck with the most light is also the least vibrant, i laid down a grey base color to emphasize this detail in the portrait. afterwards i added key details. i wanted to stay at least somewhat true to the color dynamics occurring in the reference hence why i used the grey, but i'm not a very big fan of using blatant grey directly on the skin, so i made it more blue.

moving forward, the outer eye and the nose can be some of the most "detail focused" areas of the face when it comes to rendering. due to their more "bulbous" anatomy, light tends to curve around them in more complex ways than the flatter parameters of the face.

when it comes to the many creases that surround the eye, the skin folding over itself creates a very thin shadow from between the folds. the key to rendering this crease is to concentrate the blending to a very small scale, do not overblend the area because the hill created by the crease very easily captures light, creating an area where the shadow and highlight meet in very close proximity. slight blending is needed for this area, you can deepen the shadows in both horizontal corners of the eye for more accuracy. the midsection of the total eye area (eyeball and socket) tends to capture the most light, remember this is due to how bulbous rounder shapes tend to capture light from whichever direction its coming from.

this is of course the case for the nose as well. highlights are typically placed as a dot on the outermost part of the nose by artists, but highlights also spread on either side of the tip of the nose. the nose tends to collect a lot of oil, creating a sort of sheen on the upper parts of the nostril. when rendering a portrait where the position of the head is more cast to the side, the highlight of the nose changes from the bulb of the nose, to the upper nostril. in this case, the highlight spreads, causing a "half tone", or the remnants of the light on the bulb of the nose. this is the easiest place to blend highlights and shadows together. now for the shadow detailing on the nose, i'm actually drawing on top of the lineart on a separate layer. which i'll go into detail about in the next part. you want to focus the shadow on where your lineart is, the outermost part of the nose.

now were going to really detail your portrait by introducing a new layer, the detail layer! this isn't technically apart of the skin rendering, so i'm gonna keep it very brief. this is the layer you're going to render the lips, eyeballs, and eyebrows. more specifically, the purpose of this layer is to reduce the reliance on lineart. in terms of order, it goes above the lineart layer. we're going to soften and even erase the lineart in certain aspects. i use bolder/thicker lines when creating my lineart, but this can become a nuisance/hinderance when rendering.

starting out with the lips:

people w brown skin tend to have two toned lips, with the top lip resembling the same skin tone as the face and the bottom lip being redder/pinker and lighter than the upper lip. in my case, i prefer a more vibrant red for the bottom lip. once i lay down these base colors, i begin shading on the second layer.

i personally enjoy the look of a poutier lip shape, this includes emphasizing the middles of the lips as opposed to the ends. i've highlighted the shapes that this lip shape often entails. the small circles on the corner of the lip line are just pockets that occur when the mouth is closed and become emphasized by the fat around the mouth. the parameters of the lip lines do not often meet these round corners, theres often times a "double lip line", that exists around these areas. i love including that in the art, its very easy to emphasize by simply drawing a highlight from the corner of the lips along the curvature of the bottom lip towards the middle.

shadow mapping on the lips tend to go: highlight, shadow, highlight, shadow. the top lip going inward creates a highlight on the most outward part: the top of the lip. and the bottom lip curving outward thus creates a shadow on the bottom of the lip.

when it comes to the eyeball, i don't draw the white parts as solid white, nor do i make them too bright most of the time. they're most often times an orange grey, i also dont spread this color out if you can notice the uncolored white part of the eye. i do this intentionally to keep some of the shadows that are naturally present on the eye. very specifically right where the upper eyelid sits on the eyeball, it tends to create a small shadow that follows the curvature of the eye. this shadow is crucial, if you can see the first and second picture do not have this shadow, making the iris look more exposed and the eye appears to be held wider.

when it comes to the iris, i do very little. if i'm drawing a dark colored eye i will cover the entire iris brown, before darkening it with an almost black color. i leave the brown sides of the iris exposed to aid in bridging the values between the whiter parts of the eye and the very dark iris. this blended ring also appears on all eyes in real life. lastly, dark eyes tend to show light reflections much easier than lighter eyes. these reflections can be any color in art, in this case i kept it blue-green. i bend these reflections around where the pupil would most likely be depending on the drawing.

next, the eyebrow. i find it tedious to draw individual eyebrow strands when it comes to rendering, i actually prefer to blend the parameters of the eyebrows to create cohesiveness. sparse and fine eyebrow hairs are penetrated by light and shadows more than what you'd find on the scalp. it's harder to see light on someones scalp due to the bulk of hair crowding the scalp, whereas as its easier to see such light on the eyebrow. to introduce this concept to my art, i will initially draw the entire shape of the brow. then when rendering, i erase the parameters, leaving the darkest part of the brow. then i blend. the lower brow bone will be blended the least, whereas the area of the eyebrow connected to the T zone will be the most blended thanks to the shadow following the nose bridge. the far end of the brow by the hairline tends to be the lightest given the light source.

and lastly, i loosely draw a white border around the portrait for stylistic purposes. then i combine the layers (group together your layers, then duplicate and compress the duplicate group so that you still retain your individual layers) to edit. i typically add noise and play with the curve setting. and heres the finished image: