



Generally the line around the character is done during the sketching and then re-applied generously at the end of completing the skin. It would be picked from your skin shadow tones (which can be described as a deeper skin tone pigment).









I'm not sure if that's what you really wanted or if the comment was meant to be not taken seriously but here is your answer on that! Hope it helps~

I believed I worked with this one with a color sketching technique which basically means I started the work with two to three tones but over top of the original sketch since this was a pre-illustrated sketch before. Usually working with only two colors at first, I'd first pick a typical skin tone (depending on the pigment direction of the complexion) and a second tone which would be the warm shadow (don't want to make it too warm of course). Both tones should compliment well. Then with those tones, the typical skin tone goes underneath, filling the figure completely where the skin would be showing. While the other shadow skin tone is used to create volume. Similar to how you would sketch on white paper or a paper with pigment. These colors will build a tone radius between the two selected colors in your palette. Then working with the soft round brush (whether it's a costume made lightly textured soft round or the standard PS soft round brush, either will do). You'll gently blend the areas, using only what you have before you in your colored sketch for color range. Toggling your brush's opacity between 10-50% should help you figure out which percentage is best for you when airbrushing. You'll want to use your eye dropper a lot during this stage and also seeing about adding a third color to your palette for dropping your shadows even more where the light doesn't reach as much-so apply it only where it is needed most! Which usually isn't a whole lot if the lighting around the character is softly illuminating the entire character. After blending those tones, I added more color into he's base tones, using redder hues to create flush and dully grayer hues where blood is not built up at (which can be portrayed by soft blues or even greens against warm tones). It is important to be very gentle with the color changes in the base skin tone to the redder and blue/green hues and to be selective about it's placement. There is no harm in applying further warmth in the skin tone (not blush) to the character's skin. The change in color should be as subtle or as strong as you find desirable in your work. Then add your highlights!