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

Smear the graphite even denser together with a cloth.

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

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.

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.

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

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.

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

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.

Subsequent to this, the first hair structures can also be scraped out in the direction of growth using a blade.

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.

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

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.

The hair structures in the right-hand area are not as detailed and can be shaped with an eraser pencil. Work in several layers.

Further darker hair details are added to the picture with a brush and transparent black.

The intermediate results are apparent here.

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

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.

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

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

You can see the intermediate results here. Additional details in the eye were achieved with an eraser pencil.

I keep using the portrait template to careful contour in details.

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.

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.

The intermediate results are apparent here.

Utilise the same technique for the right-hand eye.

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.

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.

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.

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.

You can shape the drapes and folds of the neck scarf optimally with the aid of the portrait templates.

Further details on the earring can be achieved with a sharp electric eraser or scalpel.

Here is the finished portrait.