CREATE YOUR INNER GODDESS (OR GURU) IN INK LINE & CHALK PASTEL | Heather Holbrook | Skillshare

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CREATE YOUR INNER GODDESS (OR GURU) IN INK LINE & CHALK PASTEL

teacher avatar Heather Holbrook, Illustrator and graphic designer

Watch this class and thousands more

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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

7 Lessons (24m)
    • 1. Introduction; About this class

      1:14
    • 2. Materials; what you'll need

      5:10
    • 3. Making faces

      3:10
    • 4. Brush & ink

      2:19
    • 5. Getting in the grooves

      3:15
    • 6. Painting with chalk pastel

      5:33
    • 7. Finishing touches & tips

      3:05
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About This Class

Delve into fantasy by creating your own mythological character with 2 different mediums; chalk pastels and ink with illustrator Heather Holbrook

Whether you're a complete beginner or an experienced illustrator, this is a fun 24 minute class designed to demonstrate a unique way of using chalk pastel that entails impressing lines into paper to create delicate white lines and combining that technique with a simple ink and brush line illustration of a face - in your own style, of course!

If you love layering and blending color with chalk pastels and drawing with ink, you'll have fun with this class!

Meet Your Teacher

Teacher Profile Image

Heather Holbrook

Illustrator and graphic designer

Teacher

I am an illustrator and graphic designer in Toronto. I studied at the Ontario College of Art and Design to be an illustrator, and found my first job with an advertising agency. As a result, the first years of my career were doing ad layouts, storyboards and art direction. I developed an interesting mix of skills and experiences before striking out on my own as a free-lance illustrator. I was fortunate enough to work full-time for over 15 years as an illustrator with a fabulous rep! I have enjoyed illustration projects from kid's books to magazines to product packaging. I have created illustrations for British Airways, Delta Hotels, The Second Cup, American Express, Beatrice Foods, Unilever and Nabisco, among others.
I currently do both graphic design and illustration.

Lately, ... See full profile

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Transcripts

1. Introduction; About this class: Hi. My mother, I'm an illustrator and graphic designer in this class will be doing a simple, stylized portrait of, ah, mythical character designed by you using two different mediums and two different techniques . You don't need any previous experience with chalk, pastels or ink, and I'll be demonstrating everything along the way. I chose this theme because I wanted to make this process fund and not about creating a lightness I want you to draw. However you draw, you can be serious. You can be fierce. You conduce a whimsical. You can be funny, comical, whatever. Do whatever you want to do as long as you're having fun. Whatever your style of drawing is, that's the perfect style. So please join me and make sure to poster work in progress as well as your finished piece in the next video. I'm sure you want to get started 2. Materials; what you'll need: Okay, let's start with the paper. You'll need a fairly heavy caught me watercolor paper to work on. I like using a B F K Reeves or Arches White, 300 or 3 50 GS UM, grams per square meter or £140 paper. These are hot press papers, which means they're smoother, but they have a slight tooth that makes them really great to use with the chalk pastel. Here is an example off the B F K Reeves paper, you can see you can still get a nice, smooth incline, and the paper soaks it in really well. It's easy to use, but it's also heavy enough that we can press those white lines in there and we get nice relief and the chalk will sit nicely on that tooth. Some other things you'll need. Ah, soft graphite pencil like a to B. I like using the mechanical pencils. The soft leads. They're easier on your paper and easier to clean up and a need Herbal eraser. They look like this after you use it for a while. These erasers air great for gently getting rid of your pencil lines without damaging the surface of your paper without leaving little shavings behind, and you just have to need them to clean them up. Another thing about the need. Herbal erasers. Later on, you'll find they're great for just pulling out excess chalk from those white lines that you've pressed into your paper. You'll need some black ink like a doctor Martins or the Windsor Newton. That's my favorite hard to find, but it's my favorite still, and a small brush. I use a number to brush, sometimes a three. You can go for whatever weight of lying you want to. Whatever you're comfortable with that you're gonna need a brush of some sort. Um, you can use a brush pen If you like this Pigna brush here, it's got a nice fine point on it. I can't seem to get the fix and things I want on the watercolor paper with this, but if you're good with that, then go for it and you'll want a pallet, a small palette or a ceramic dish or something to put your in Cannes. You'll also need a medium ballpoint pen and some tracing paper. Just make sure that the pen is a medium and not a fine point because you don't want it ripping through the tracing paper and the tracing paper, make sure that it's a minimum £25 or 40 gram weight so that it's thick enough to withstand that pressure. And, of course, you're gonna need some soft chop steles. Just a few colors for your goddesses. Garland. Um, I normally use Rembrandt, which is kind of, ah, medium soft, and I have a bunch of different brands on the list in the resource section. Um, I also used Cinelli A, which is very, very lovely. Soft power Asian past ill could see how soft that IHS these air. Harder to find in a lot more expensive. Uh, this is a German made one shining K pastel. These air also really nice. So when you go to the art supply store, chest these out, see which ones you like, you don't need to have a lot. You can just buy a few limit your color palette. It's easier that way and have some fun with the shopping. I sometimes do touch ups with ah, whitewash and add contrast with a black prisma color pencil. I pulled some white lines out with the white wash in areas where I wanted it to stand out More all demonstrate this later because I don't know how well you can see it here. This is optional. You don't need to do this. Um, I just like to play around with out at the end and see what I could do with that. There is a pdf in the resource section with paper suggestions, including my favorites and a complete list of everything you'll need that you can download and take to the art supply store with you. 3. Making faces: Okay, so here's where we're going to make. Our faces were starting with a pencil sketch of her character. You may want to do some doodling in a sketchbook or on loose paper to develop your portrait style. You could make this character anything you want. It doesn't have to be female, and simple is good. We're looking for your stylization of a character, not necessarily a likeness of anybody you know. So play around with this. Have some fun, try some different lines and expressions and create a face with some attitude. Now you've got a face and you've got your laurel or garland. That's gonna be the chalk pastel part. Uh, shouldn't be too complex either, because even simple leaves will look great. And maybe a few flowers here and there that shapes have to be reasonably large. Eso that it's not too hard to get the fat chuck pastels in there to get it colored. Um, and if you have a lot of lines, it's gonna be really hard to read. If you want to go ahead and lightly sketch your face right onto the watercolor paper, you could move pencil lines later, or you can do what I'm doing here. And you can take some graphite and rub it on the back of your drawing and then just trace the lines through the tracing paper so you can transfer it onto the watercolor paper. I do this because I'm kind of a messy sketcher, and I don't like to do a lot of clean up afterwards. So for me, this is the best way to go. I mean, you can always touch it up later if the lines aren't going through very well. You don't have to press to heart, but just get it on there. And remember, you don't have to do the garland at this point. We don't really want lines underneath of the garland yet. That's gonna be the second technique, and we don't really want that on there. Okay, So just get your face on there on. Let's see how that worked. Not too bad. So now what I'm gonna do is on, you know, we'll just go in and roughly kind of work in the edges where I want to. When we get to doing the ink, you know, that detail will probably change a bit. Anyway, we just want to kind of know where everything's gonna go. Okay, Um, next up, we're going to crack out the ink and the brush and do our incline. 4. Brush & ink: we're now ready to get out the brush and ink and get this goddess going. I'm using the Doctor Martins, Black ink, and I've got my Palito, a little bit of water. I've got a piece of the same kind of paper that I'm using to draw on so that can block the ink on their before I get into the drawing. So just get in there and make it your own. I like to use a brush so I can vary the line weights. And I never really know how the character of what I'm doing is going to change depends on the character of the incline I do. It's always a bit of a surprise, so my sketches usually only a guideline. Many times I've done two or three different versions of the incline until I get when I like , and that's why it's better to think simple. So just remember, only the face is going to get done in the black ink. So just whatever is not the headdress or the garland area because that we're gonna do with the chalk pastels and I'll be showing you that in the next video 5. Getting in the grooves: So in the next two lessons, I'll be demonstrating the chalk pastel technique. So this is where the weight of your paper is kind of important because we have to push the lines into the paper for the garland through the tracing paper. So what I'm gonna do now is I'm just gonna clean up these pencil lines, get rid of all the little bits of pencil that I can still see here, and then I can I can do better that later. You want to take your sketch that you, uh, used before? If you've done what I've done and you've got some extra graphite on the back, you might wanna clean a little bit out of the way. Because you want You don't really want that in your your garland. Okay? So just clean that up a little bit then what you want to do is you just want to register it over that area, tack it down where you want it. What you're gonna do is you're going to take this medium, uh, ballpoint pen, and you're going to start pushing through the tracing paper and making your lines. So you want to put a bit of pressure on it so that you get the groove going underneath. Okay? You need tohave similar pressure. And, you know, as I said before, um, if you've got too much of a fine point, you're probably gonna rip through the paper, and your lines might be a little too thin. Okay, So you want to really push in there and this tracing papers, holding out pretty good. I'm just gonna do a few leaves here to show you you're gonna have a little bit of overlap here and there with the line. You could go over with your finger, make sure you haven't missed anything. And and you just keep doing it like that until you get all those lines in there that you want to get go fairly slowly here. So you don't miss any lines. I don't recommend that you go over your lines a second time with the pen because what'll happen is you'll get a double line and you'll start messing up your registration. So just try to go slowly and check. Make sure that you caught all of the lines that you want to impress before you take your paper off. If you got attacked down. You should be able to just lift it up and check. So in the next lesson, we're gonna start laying down the color pastels. 6. Painting with chalk pastel: So now you've got your portrait and a bunch of lines impressed in the paper where the color garlands gonna be so you can start by adding one or two based colors just to this garland area. So I've only got a few colors here. I've got dark green and a light green Onda, um, a deep magenta and a later pink. So I'm just gonna go around and show you just softly lay in the color, and you might have to look, pull your illustration up and look at it to see where those lines are that you want to get . Just gonna do this one side here so I can show you how it works. And again, I have to take a look and see where I'm going here. Okay, so you just start to lay down a base color. Um, then what I want to do So I want to start padding in and rubbing a little bit. I can start to see way more definition in here, and I can also make that pastoral really get into all of those little grooves there. I can see the definition of that drawing my garland that I want to see. I usually like to start with Ah, harder passed away as the base and then use a softer one for the top layers. But it all depends on the affect, Er, after in this case, this is a pretty soft green. So now you're gonna really start to see the definition of your drawing and see the white lines that you've pressed into the paper. And once you've got them tapped in there, then you can start going back in and adding color where you need it. You might want to strengthen it in certain areas to get a little bit darker, and this is really kind of a fun thing to do Here. You start seeing the definition start a little bit on these Berries in here, and sometimes you can just just tapping it into a smaller area tank, Get that color in there. Okay, I've got a check and see where these things are. It's okay to overlap because I kind of like that look. And this is the other reason why you don't want to get too detailed because, um, you need to be able to get in there and smear color around and not lose all of your definition there. Okay, So get right in there, Play with the color. Once you have a couple of layers, you might want to do a light spray of fixative like a workable Fix it like a cry lawn. And that's how you go about creating that again. You don't want to lay the chalk down too thick because it smears and it does leave trails everywhere. So at this point, if you want to lift off a bit of the chalk, if you've got a little bit too much in the lines a couple of tips you can take a paper towel and just lay it down, rub it onto your chalks and then lifted off. It will pull out some of the excess chalk, and another tip is to get that need. Herbal eraser. I'm just go in and pull out some of the chalk that you don't want in there and just needing it. Pull the past oh, out of it again. Bring it down. And if you've gone too thick, you want to see your white lines more, you can pull that out like so. So that is pretty much how it's done. And in the last lesson, I'm gonna show you a few ways to pull out some detail. 7. Finishing touches & tips: in this final lesson, I want to give you a few tips for adding contrast, touching up and adding some highlights. Keep in mind that chalks on paper are pretty fragile. So even if you have used a fixative, just don't be running your fingers over it because it'll still smear a bet. So if I want to bring out some highlights, I use a little bit of this. Designers White Wash and I will go in, and I'll just add a little bit of white into the grooves. It's a little pop it out, Okay, And there there's usually areas where you want that to come out a little bit stronger, and you just need a really fine brush like a number. I think I have a number three here, and you can make it a little heavier if you want to. And I've already done some over here and just really pull out the white and highlight that make it stronger. If you put too much weight in there, you can take an exacta ble fine point and pull some of that out. And if I want to add some contrast, I'll take this black Prisma color pencil and find an area where maybe I want to add a little bit of shadow and it's already some dark in there. But I just kind of use the flat edge of it. And what will happen is those lines will stand out. You can see the contrast in their okay. You may not want that. You don't want toe over work it. But if you need to add some shadow im definition, that's a good way to do it. Okay, So another thing about the chalks, I would recommend a floater frame if you're gonna frame them, because, um, sometimes it's hard to keep the chalk from being attracted to the back side of the glass. So that's one thing. The other thing is, try to keep your hands clean because you get past a where you don't want it. If you're watching this final video, I hope it means you've tried the project. And thank you so much for joining me. I'm really looking forward to seeing what you've come up with, including your sketches so we can see where you started. So just keep it bold and simple. Limit your color palette, try some different papers and brands of pastels, and always enjoy the process