Tested for

Perfection

Thomas Olczyk is working with Harder & Steenbeck Infinity +

Tested for

Perfection

Enrico Lein is working with Harder & Steenbeck Evolution twin action +

Tested for

Perfection

Younes Bouchlouch is working with Harder & Steenbeck Grafo +

Tested for

Perfection

Julia Stoess is working with Harder & Steenbeck Colani +

Tested for

Perfection

Angel Giraldez is working with Harder & Steenbeck Evolution ALplus +

Victoria

Step 1

The reverse side of the portrait print is covered with a graphite pencil.

Step 2

Smear the graphite even denser together with a cloth.

Step 3

You can already use the portrait templates when drawing the important contours to reproduce shapes correctly.

Step 4

I'll start this motif with the auricle, or external ear. I used the inside curves of the template and a transparent black/water mixture for the inner curve.

Step 5
Now comes further shading on the ear. You are sure to find the right curve every time with the stencil template set to create your detail.
Step 6

The intermediate results are apparent here. Unrequired paint is removed with an eraser pencil.

Step 7

I also use a template curve for the earring. I position the template several times here to shape the earring. Any paint mist can be removed with an eraser pencil.

Step 8

Now shape the hairline. The portrait template once again proves to be a useful tool here.

Step 9
The hair surface is now lent volume and developed somewhat in shape. Spray in light transparent layers of light and shaded areas in the direction of hair growth.
Step 10
Subsequent to this, the first hair structures can also be scraped out in the direction of growth using a blade.
Step 11
The scraped hair structures are embedded through light overspraying. You can shape further wisps of hair with the portrait template to depict the hair with greater realism.
Step 12

The background is now lightly produced. Keep away from the facial contour with the portrait template during this.

Step 13
The template is also used to cover the surface of the face in the lower facial part. You can see the first lines here for forming the hair.
Step 14
The hair structures in the right-hand area are not as detailed and can be shaped with an eraser pencil. Work in several layers.
Step 15
Further darker hair details are added to the picture with a brush and transparent black.
Step 16

The intermediate results are apparent here.

Step 17

Continue with the eyes. I protect the later reflection in the iris using a small curve.

Step 18
The iris is outlined with a smaller circle shape, while a larger circle is used to form the pupil. You can also mask more complex partial areas by overlapping two templates.
Step 19

Let's continue with the eyelid. Spray in softer shading.

Step 20

The lower folds of the lid are misted in with a long drawn out curve.

Step 21
You can see the intermediate results here. Additional details in the eye were achieved with an eraser pencil.
Step 22
I keep using the portrait template to careful contour in details.
Step 23

Hair structures were carefully dabbed out with an eraser pencil. The lid gains a shadow through thin layers of transparent black, and the area between the eyes also receives a light transparent paint layer which is misted in. The eyebrows are created in combination with the template, airbrush and a fine brush.

Step 24

Additional skin structures are also erased out to different degrees between the eyebrows and the eye using an eraser pencil. The eyelashes were shaped with a fine brush.

Step 25
The intermediate results are apparent here.
Step 26
Utilise the same technique for the right-hand eye.
Step 27
You'll also have no problem finding the right curve for the nose on the portrait template to develop the nostrils and nasal orifices. The eyes and nasal area are joined through light shading. Use an eraser pencil to remove paint again and produce brighter detail.
Step 28

The shape of the lips is also developed initially with the aid of the portrait templates. Spray in quivering lines to accentuate the detail of the lip structure. The eraser pencil can be used subsequently to create highlights.

Step 29
Then connect the mouth and nose by spraying in light and shaded structures. A light edge can be traced on the chin with an eraser pencil.
Step 30

Here's the intermediate result. You can see how the face was modelled with thin paint layers. I employ a structured fabric and sprayed lightly over it with the airbrush to simulate a textile structure on the neck scarf.

Step 31
You can shape the drapes and folds of the neck scarf optimally with the aid of the portrait templates.
Step 32
Further details on the earring can be achieved with a sharp electric eraser or scalpel.
Step 33

Here is the finished portrait.