Acrylic Faces #1 | Beatrice Ajayi | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

3 Lessons (41m)
    • 1. Introduction To Faces #1

      0:45
    • 2. Faces Part One

      17:09
    • 3. Faces Part Two

      23:05
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Project

About This Class

Acrylic Faces #1

This class focuses on creating a simple portrait painting. You will see my example worked through from beginning to end. We are using Mixed media paper for the paintings. Just follow and repeat what is done in the class. Changing the direction of light for different paintings you create going forward from the class. colour palette will be limited. Paintings will be created in acrylic.

Tools & Process

1. Mixed media paper or watercolour paper A5 size. 

2. For the practice sessions that you do, use weak hand for drawing initial sketch with a pencil, you will get interesting variations on lines from this technique. Happy mistakes. Practice a few of these on separate piece of paper. 

3 We will use approx eight acrylic colours for this class including the white. Colours are: orange yellow, grey, burnt amber, raw sienna, pink, deep yellow, violet and titanium white.

4. For extra experimental sessions you could add up to three new colours not in the list above.  shade in a tonal quality. The light and dark play of tone is the focus of the class in portraiture format. You can scrape the layers with old credit/store cards, palette knives or any other scraping tool you have to hand. I use my catalyst wedge in the class. I buy most of my tools online from amazon because of my locality, but if you have a local art store pop in and see what supplies they have in store. 

5. OPTIONAL:- Once the acrylic dries you could use a selection of ink pens to scribble add to the sketchy technique or fill in bold areas like eyes and hair or background. 

6. EXPERIMENTATION:- After the class you can use other singular colours to repeat the whole class. Like sepia, reds, greens... Contrast and pattern is can be fun.

P.S - You can can have a spritzer to keep painting and paints moist. 

Video to Watch Of Similar Process:

Timelapse Tonal Example

Meet Your Teacher

Teacher Profile Image

Beatrice Ajayi

Founder of HyssopArts

Teacher

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Transcripts

1. Introduction To Faces #1: Hi, everybody. Welcome to today's skills. Your class. My name is Beatrice Ajai, and this is one off. My art class is called faces on. We are going to be working on these beautiful characters here on day. What it is is to kind of get you into understanding about light and shade and where light is coming from. And how you been in a play around with that in your character. So just have fun and relax. It's something very long class, Andi. It given idea of maybe to prompt something that you might not necessarily have. So I'll see you in the class and we can have some fun together. I see you, sin. 2. Faces Part One: So for two dates, class, what I'm gonna do, IHS start off by sketching a rough sketch off from a face first. So the whole point of this class is to relax to listen up and just to try and start looking , um, faces in a whole new way and not feeling particularly penned and to, um, what we consider to be faces and things so you can see here. I'm just relax in and we know that we have eyes and faces. We have noses, um, and so just kind of pin in a rough areas that there might be some characteristics in the face. Um, so we know that there's maps in this eyes and this noses, this is some people like to measure on these things and have different formulas from how they would approach looking at the face so this could be applied as well to actually realistic faces. But what this class is gonna be is just to listen up and to look at that other area of expression. Andi? Uh, yeah, just going with that and just being free with how we approach faces on trying something you completely new. So what? I'm gonna do here is gonna use a variety of colors I have sets out here. One of this Commons would be like on orange. So this is like a really bright orange. I have a pink which elect he is not again for maybe cheeks or things. Um, and then for skin tones, I'm looking at having quite a variety of colors that I could mix with the other colors and get different tones with. So I've got a yellow as well a DPL um I'm gonna use a gray which are hardly ever used, but I want to experiment with that as well. I've got some titanium white on. I might bring in some other colors along the way as we go along. So what I'm gonna do is start off straight away with, um, working on this face. This guy get one of my brushes here, but the colors at first this fits in my gray out. I haven't just got some of my fingers. This you just start anywhere with these. Just enjoy yourself. Relax. Deliberately have drawn this the way I just to show you. But you don't need to be too serious about how you approach this right now. It doesn't look like this that have been going on in that piece of people are. But it's all about not being stressed. And so I love people would probably make fun this toe, have the actually drawer their characters. But basically, is just to be like that, the best way to approach everything. Some disk reason some of these colors out. You look delicious. I would advise you to eat your paints. Um so, Well, im going. I've got this spritzers well, which is a good idea. If you've never thought of this before, you can get this is a turban, but they're different spritzes you can use or even in bits and some other shops. They usually sell little containers with, like, a spray top that you can put different creams and things that you want to keep in them to use for yourself. So I like to use it since because we're using acrylic today. If you know occasionally, you could just spray over that to keep them moist on. Um then they won't be too. They won't get hard or dry too quickly. So I got my brush here, and this is a size eight brush that I've got. And I'm just gonna go straight ahead and just start using some colors and I can mix colors as well. So what I could do is also use my which year, which I have but you can get on Amazon. It's a, um, capitalist wage. And this is a number six of our size six, but it's got there. So you get school straight and and just start kind of another thing to think about is which way you want. The light may be to come in. So if we say the light is coming in here for any objects, wherever you're drawing, you start by just kind of person. Most of the colors that you think would be a darker color on one side. So I'm going in here really happy with this and not caring what I'm doing. And then I'm just going to start some smudging. So you gonna have to relax into this cause it's gonna look scary. And I just put a whole lot of this brown color on um and then I just that I'm gonna come in maybe with some other colors here and and just not caring about what I'm doing. So now what this is all about is how you get the different tonal qualities and things. We're gonna put some agree here. I'm gonna come back and try and get that I back in where I'm gonna put some weight. So I'm thinking that the light is coming from this side. So, um, I'm painting. This is now. Some people would actually just paint their actual whole paper with, um, a color before they even get started on just because they want Teoh have something so that it's not completely blank. I don't mind. So everything is an experiment, isn't it? So we are going to make this work now. I'm thinking I want to use maybe a some violet as well. I mean, it's easy to lean in and get a black, but trying to hold back from using, um, just black all the time for a lot of things, You know, that I might want to do so. I'm trying to not stop feeling my way into it. Some characteristics in here And the thing is, um, colors and paintings are not always the way we think we see them. So you have to be quite frank, similar with what it is you're doing with your actual pain. If you look at it and the idea of it being looks of color, then you're more likely to get your colors right. So now, basically, because there's a lot of, um, colors on this, I'm going to start playing with it and digging into the actual, um, character here and started to block out some area so that you can start seeing what is going on with the character. So all this he can play with all the time. It doesn't have to be, You know, just one thing or another. You start building in today characteristics where you want to put, um, and building the place. It's going to make some bits lighter, and I'm just being very free and trying to get the impression of a face. Maybe the side might have something there. This sheik Have something. Yes, keep Khan and feeling their way along, building on the structure of it, backing so you can see kind of a shadow there of what? I'm trying to get up, um, of the face. It's quite elegant looking going on here. I'm gonna wash my brush off permitting some more white here some tissue here. So just relax and just keep on building Morelia's and scraping away Bang some girl. He's my sweeping to a little bit more the tools again into each other here. So right, So mixing colors as well is something that you can do beforehand. But I for somebody like I like the brightness, the colors. So I tend not to actually mix them too much other than these, and you might not see them later on. It's just I would like to add things in places, then get on dry and also not to, um, Mr Word lose every color location, have spring just like into paints. I'm looking at this and I'm thinking right, What am I gonna somewhere else? I'm just gonna do a doctor near here. Just sometimes it could be this While I'm thinking other times, it's just because I am actually just painting that you're in. And I'm not necessarily covering all the white. And sometimes I like that contrast there is the same for on if you're using water colors as well, but you don't have to always feeling every every space aspect of everything. So, um, he is build and limits there, will it, as you're going along and was just great toe have the So I really like the long neck of the character. So the whole point of this class is iss, um, bases. I really like what? Um, have not put any hair on it because I'm trying to focus on the actual, um, character. I'm gonna try and put similar yellow in some other areas here and building more and more because some of us it's still wet and you can only see the sprint sent it, keep it moist. It's keeps full. And just in the so I'm just adding some more yellow into areas. Nick here. Then you're starting to try and balance where other colors come in. And the same approach, like I'm saying, can be used. Come with how you paint characters of the light coming in and this big green out where to put the next part of the story like that much I'm gonna. So this is quite well built up here. Gonna bring up some black and see how that works with, um, have been much darker colors. I'm trying to decide here how I want to do her face. So I'm not even changing my brush. I'm just gonna start something extra details to different areas. And you can see already that that has dark in that corner, that these areas here, what we can do is mixing with some of the purple that would use a little bit of black, and so it's not completely black, but it's Michael. Partly black into that area. That sign here. I'm thinking of how to do her hair. All right, so just kind of start you can Very simple, not too from point here and start filling it slowly. So what I would do to fill this hearing here a little bit with some blood? Because this area would be really dark inside. It's in any kind of hair situation. Um, and this would be that. And so you can see what that looks like. Um, it's quite a lot of water. Well, I'm trying. See, I'm gonna put that with her here. Been there here. Very simple. I don't want to distract too much from, you know, the face the way that I've done in the face, which as I said, if you look at it, it seems maybe a little bit most over it again. Um, rustic, but it's it's all colors. But we used to put this together. I didn't use my pen, so I didn't, um, sketch out a few long proper fees. You saw what I drink before. So that was just a measure. Roughly where was gonna eyes or mouth. But I was also being playful because not everybody is gonna do exactly the same. Windy wants to put a character down. So that's one faced up, have done there. And I think I should do another face in the next segment so that you can see how we started this again and do another one, so I'll see in the next. 3. Faces Part Two: So for the next segment, we're going to start similarly to what we did again. I'm just skip something. Um, I can even use this pink one here and just to get a rough face. But, um on. And also, as I said, the light will be coming from here so you can see how I'm starting. This, uh, image is just a circle. Then you could see OK, maybe after that I hear are something Roughly, um, that one. The nose was about here, or it was maybe further, that probably living for done. You could make the face a lot longer. Um or, um, Let's see. So far, no say down here. There's gonna be, like here, like coming here. So is to practice this over and over again and not to be too serious about it in the mouth chin. And right, So this one is a bit more detailed than the last one. We're gonna be justice brave Teoh, get this character off the ground. So, um yeah, what we can do is okay. Finally turned around and the light came from the other side. Contrive and see how that would work. We didn't. So this side is gonna be darker. I'm just gonna put more of my violet down, so it's not very easy to see that, but using violent there, it's a more back down. I like the way that, um and then so this would be a darker side here, and yeah, I did a lot of tune in on the underground before hands could use some other colors. You send a different way mix in some off the burnt number with the violet getting this. So there, then because I wanted the lights on the other side I'm gonna just use, um Let's see what color was Mexican. It's a role sienna Well, seeing on this side and Leslie just to so you can see the split off the tombs. Um, and then with the black and the violent mix going further back here, and so this is laying the ground not being too stressed about it. Not even really draw the face here. We just fill in in different aspects of it. Is he right? This is gonna be dark. This is gonna be a dark part of the next step. Is a violent violent with some Brent number for this more violent. This is even more in shadow because this is under the neck. Um, this is, like, upper face far, so I could probably do that again. So you just playing around with that and you've seen the whole shift in the colors is very rustic, but and then within absolutely yellow with the role CNN is and added to this side. So this is a lot lighter area here. At least that's what used to be, um, gonna put some of the great with CNN in here just to see that that's a shadowy bit on, then building A ever since this year s o, you can see Kind of like it's gold ring out like those, um, kind of bubbles you would get. So that's like the foundation part of it. And then, you know, gonna build your structure on top of this, so I'm gonna put out some more rosy ETA. Don't but this keep working. So now we're gonna look at where we're gonna put the eyes. So if for example, I know. So I took my finger and I stuck it out here roughly. I hear a boy, um, the nose here somewhere. So that's now going to be something you're gonna build the shadows and thing onto. Let's see how we do this. Let's put some for the mouth as well here. I didn't see that there. That's quite interested. We'll start working on that straight away. So I've gone for in my last one for quite a dark, huh? A tone of a face but school and trying. So like saying the light that's coming from this site. So I'm not just working on. It's an end, some variables, and this really just started to just to see what this could look like. Nothing lighter, lighter tones I like to put in my It could be a darker variation of this, but right now I just want to spell it out to myself. But there's a cheek there, Um, maybe something like that. So now you can see it starting to build up again. Go back here and we put in some skin starting again possible. I love it drastically and the pink still in there. I don't mind because he just build it and you keep getting colors on it. So this is a darker side, looking a but some of the islands spares I'm right. You gonna get some old white almost run out here and I'm gonna try and really make the face a bit more prominent because moment is spending too much. So they come around and start mining up out of the face of it and that you can see that stick out a little bit and then start with my nose. So it's just building and building and making sure that you're starting to see what it is that you're do it and built. And so it's slowly starting to the competition, this of it. But it's slowly starting to build. And I really like how I use a lot of the yellow. So I'm gonna come back and it's something white, um, white There. I think this some winnings to be a little bit writer. This foreign shit. I'm gonna get to that in a minute. I think this is like you. Yes, I want make a brighter It's looking quite small, like white than property yellow. I'm gonna bring in some of these very strong and then into this a little bit more. I'm not really interested in covering everything because I wanted to be quite flexible, but it's like you just need to get but so slowly get in the face building in, the more you work on, it gets even more descriptive here to get a life time there on a dark, but with a difference in their so you can see it. It's getting more and more dramatic. It's building up violent, right? So because I want this to be still further, more into, um, the color starting to come out, I'm trying to get her hair. Just it's certain. Boy, um, I'm gonna go over just front here trying to get old. So we want to keep some variations in this hair and quite gestural, concedes it up to each other. Reflections of light. So it's not all number in any orange. I'm gonna do that. Go wash my brush up. I'm using my brush to mix a swell. It's actually cloaking the brush quiet. Usually, if you mix with a palette knife, that is a much better, I fear. But I love doing this with my You can start dragging some of these aims to get some of the , uh, reflections about like so white tends to make things opaque. So if you have paints that are if you have paints that are transpired white tool usually make things so under maybe some of them complacent pink in that as well. They're pulling the face in a little bit. You see where I can put the orange? Um And so it's the layer and going from the side, trying to show the light to the dark side under the hair. Here, there will be a little bit of dark area there as well on the cheeks here might be some of a lighter color mixed from that. Here, the cheek showing. Um, this looks very aggressive here, but I'm really trying to just show the reflection. So that would mean that would come here and try and show much lighter and burn maybe documents a bit more. Some of the purple come in a little bit playing with this area here so that but because this is quite a graph of working this blender in labor a little bit, so I really like the way her cheeks have gone there. No, I'm just so in here would be like before will be darker. It's not. Start right now. You know, wash my brush and then back and have a look again. Chris. Yeah, this is a softer. She's got a really soft face here. I really like that Michael, to see that much finer. Let me tiu. It's a more black them. No, just get the impression of hair here. But you're not seeing it necessarily as clearly as I am here, because this one has gone down quite a bit. So let's see if I can get back a little bit of that here on a dock in this area Quite a bit . Just somebody you, because the paint can tend Teoh sink into the paper by the time it settled. So I love acrylic. It's dries really quickly, and it gives you a chance to, um, Mark on quite a few different ideas. That was longest. You can, um, let's get some more purple, Honest. That's gone a little bit orange. They touch some of the orange, so you just keep spits in. Your pain is I'm gonna do, you know, so that this doesn't dry up. I'm going to get the purple here, and you don't have to cover every inch of the people. Sometimes I like that. But if you want, you can do. But sometimes I leave it. Just have a kind of a sketchy field for, um, So here it might make a little bit darker. Five. Go into some of the other paint, start mixing and see some black and with orange agenda. Yeah. No, no. The yellow kind of mixed it back here, so this could be a little bit. Look. Yeah. So now you can go put some yellow in there. That my village back alone. It's kind of trying to pull this Nick, Uh, a little white. Thanks for the yellow up again. And then just pull it. Bucks is a little bit lighter again and has the contrast, but I think it was a orange oranges in there soon from orange on top. So it's very subtle, but yeah, I like this area here, so I don't really wanna do too much to this one. It's, um, final so and keep it cools to the head. I don't want to go too far because you can start to be a bit honey to show some of that light coming through there. Here. Eyes here. Not like the layers they're here. Got some good cleaning my brushes. Don't be like it's still not done a little bit. Just start working on different areas of the face. Very. Let's all the time just to bring up different light aspect, Uh, might be on. They're, um, Islands. I think it's purpose. A small problem. I was always thinking about the light and shadows as well. This so you can just be Blandon. And as you go in along, see here that is supposed to be quite like You think you might put a little bit of purple this dark, but no idea of shadow there. I really like that. I'm gonna go back and use a little bit of, like, the color and take that back a little bit. Yeah, just to get this back to some kind of a break, go like so Because I look so bright, I can just rub it back over, join him there, So yeah, this nose is that, um wonky here a little bit, So this would be like a shadow a little bit. Then That would be Yeah. Can you think of this, But yes. So I like it If you wanted you work in a mouth a little bit more. You can put in similar colors. Um, start to build. I like that. So for the class. And I think that those two examples will be great to use to work on, um, just faces and just see what you can get out of it. And then you can build from here because this is this experimental and to get something done. It's like a sketch, Really? But at the same time, once you do more and more of these just going with it, looking for the light and the dark Onda tonal qualities and using color to do that I mean, you can use black or white. Um, what is that thing of, like maybe also using the brighter color and then the darker colors. And then you can also use your color wheel. Just get that, um, Nicole wheel as well to try and see what colors can go together. Um, I just got this all families, and so you can use anything to get the right colors that you need to be able to play like this and have some fun. So I'll speak to you in the next classes, other classes available. I'm still to learn about Portrait's and just relaxing, and it's not about getting that realistic. It's about understanding how the sheets at the tonal quality school on just getting something down that will help you to start learning on to progress from there. Really? So I'll speak teasing. Thank you, particular class. I hope you enjoyed it on dumb. I will have some more available soon. My