Create an Animal Portrait - with lots of character | Brenda Harris | Skillshare

Create an Animal Portrait - with lots of character

Brenda Harris, Graphic Designer and Illustrator

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
15 Lessons (48m)
    • 1. intro

      1:43
    • 2. class project

      3:20
    • 3. materials

      3:29
    • 4. research

      2:43
    • 5. color palette

      3:34
    • 6. rough sketches

      3:57
    • 7. preliminary drawing

      1:52
    • 8. explore texture

      5:16
    • 9. embrace your style

      2:50
    • 10. final drawing

      2:55
    • 11. scanning & editing

      3:05
    • 12. coloring digitally

      3:24
    • 13. bonus review

      3:44
    • 14. finish and print

      5:03
    • 15. thank you

      0:49

About This Class

Do you love drawing? Do you love animals? Do you love animals doing funny things? Great! This class is for you! Perhaps you want to personify your pet, draw your spirit animal doing your dream job, or make a portrait of your family…as animals. Learn to use simple materials to make a character portrait that has lots of personality!

Join graphic designer and illustrator Brenda Harris as she guides you through her personal process for creating detailed portraits using mainly paper, pencil, and pen. Lessons will give you the tools you need to explore and create fun illustrations you’ll be excited to share!

Easy-to-follow lessons include:

  • How to choose a topic
  • Choosing your favorite materials
  • Having fun doing research
  • Finding the right color palette
  • Staying loose with rough sketches
  • Creating a simple preliminary drawing
  • Embracing your style
  • Prep and scan your finished drawing
  • How you can add texture and depth digitally
  • Finish and print and share your project!

All are welcome to join Brenda in this fun and quirky class! By the end, you'll have a fun animal illustration you can give as a framed gift, enjoy in your own home, or possibly use to make a fun product like a dishtowel, mug, or a t-shirt.....and the skills to turn any animal into a personified character!

Share this class with a friend (and gift them 2 months of free Skillshare) using this link: https://skl.sh/2LuttzR

8e69a228

Shout Outs:
Music – http://www.bensound.com
Animal & nature clips – http://www.pexels.com

Transcripts

1. intro: Hi, I'm Brenda. I've been a graphic designer for the past 15 years and an artist my whole life. I'm a mom of two adorable kiddos. They keep me busy and inspire me every day and from Colorado, and it's really influenced the things I like to draw, like mountains, trees and forest animals and lots of texture. Ever since I was a little girl, I liked reading, writing, talking and drawing at a really enjoyed drawing. Animals doing funny things. So I grew up drawing animals, doing funny things. Recently, I decided I wanted to illustrate more, and I've always wanted to teach others about my process. So here I am. I want to invite everyone to join me in making a fun animal portrait. Whether you're a beginner or an expert in your field, I think you'll enjoy coming up with a fun character with me. Perhaps it's for yourself to sharpen your illustration skills on at your portfolio. Or maybe you'd like to create a gift for someone else for a wedding or a birthday. You keep intern illustration into a product you can sell in this class. I will teach you how to choose a topic pick your favorite materials and have fun doing research. How to stay loose with your F sketches, create a preliminary drawing, embrace your style and had a finished print and share your project. Let's get started. 2. class project: All right, let's get started. So the first place to start is choosing your topic. Choosing your idea. What animal are you going to draw? Some of you may have seen the class title and immediately thought of an animal you'd like to turn into a character. That's great. Some of you might be beginners, and you'd like to follow along and draw the animal I will be drawing. And that's okay, too. For this class, I'll be focusing on a cat portrait. I've done many dog portrait's, but I've never done a cat portrait, even though I had a cat for eight years who actually acted a lot like a dog. I used to always joke with my tabby cat that he needed to get a job and start paying the bills. So I decided in my cat portrait, I'm going to add a suit and tie, or maybe just a tie. I do encourage you to do something unique to you if you can. I really believe that when you do something that interests you, your mind stretches. Your skills are challenged in a good way, and your creative juices start to flow because you're excited about it. However, picking an idea can be difficult when Sky's the limit. If you're prone to artistic blocks here, some things to consider You're a beginner, I would say. Start what feels comfortable. Start where you feel comfortable. So let's say you have a pet, maybe of a pet lizard. Maybe you have a dog or a cat or a rabbit and you'd like to personify them. I think that's a good place to start. I think that is something that you're familiar with. You could maybe even draw them or sketch them out from from life. Maybe when they're sleeping or just you, you know you love them. You know exactly what they look like. Do you have a spirit animal that would be fun to draw? It could be a mythical creature, like a unicorn or dragon with wings. If you'd like to make this into a gift for someone else and think about what animals they like or would like to have in their home, it's also fun to turn people you know into animals with their characteristics. I have a fun Pinterest board dedicated to cute animals. If you want to prove that for a while before you decide if I really can't think of something. I write down a ton of different animals. I try to think of the animals. I wouldn't normally draw that time from Colorado. I always want to draw bears or rabbits or foxes or wolves or animals that seem comment to mayor that just pop up in my mind immediately. So sometimes it is fun to challenge yourself and go outside the box and think of things that you wouldn't normally dio. Try making two different lists. One of just different type of animals and one of maybe a profession or an activity or style . Cut up all your ideas and place into two bowls, then randomly choose. Have created a worksheet that may help you along the way will help you decide on animal if you need it will also help you flush out where your animal might be doing or other details your character might have. The worksheet includes a character mood board questions to ask yourself as you do your rough sketches and a list of resource is feel free to share your sketches, your character, mood board or anything else that helped you create your image and Of course, at the end of the class, you can post your final image. It's really fun to see your own progress and what others come up with to Next up will discuss materials so I can't wait to see what you come up with. 3. materials: I have to start by saying, If you have go to tools, I highly recommend you use them. Use your favorites and, more importantly, find your favorites experiment if you need Teoh. Creating art is all about having fun. There's no need to stress out about having the right materials or the best materials. The point is to make art, so don't ever let not having the perfect tools or perfect studio stop you from growing and learning and creating currently. Because my kids have taken her. I literally create art from a kitchen table most of the time, and honestly, it has really good lighting in this class. I'll be using an oversized number two pencil because I used one by accident one day and never looked back. I like the way it feels in my hands because it's a bit bigger and I like the line. It makes money draw, use whatever pencil you have around. But I personally like drawing with a softer lead. You want to be able to erase the lines Later on, we will be focusing on line work, so you'll need a find tip in pen or a ballpoint pen. The English to be black. I normally use the Tom Bo mono drawing pins, and they come in three different weights, which is nice, because I use the heavier weight for outlining of my drawing. And then I come in with the details at the end. I also like the model pens because they're harder to smear. I hardly ever smear them. Sometimes when your wrist goes over a fresh line, you can smear it with certain pens. But I've never done it with the mono pens. I also recently tried out the just a plain old Sharpie black fine tip pen, and it actually came out really nice. Then there's paper for your ref sketching. You can use plain all computer paper or a sketchbook. Personally, I've never been good consistently keeping a sketchbook. It's a gold mine, for sure. Usually having sketchbook keeps me from really experimenting because I want my sketchbook toe look really cool. I prefer lose sheets because it feels less important and allows me the flexibility to move around more for your final drawing. You might want better quality paper, especially if you plan on using more traditional media like water color, and you're thinking about gifting the original drawing. You'll want to use the paper purpose for your materials and can handle any water or heavier Anke. Maybe applying, I will be using the Strathmore smooth bristol. I like how smooth it is and that it comes in 11 by 17 pads. That's all you really need for this class unless you choose to add color traditionally, then you'll need your color pencils, pastels, watercolor inks and anything else you normally use or would like to try. Some optional materials are a pencil sharpener and a separate big eraser. You can use the back of your pencil, but I'll be honest. I have used up a lot of erasures that way, and it's just more comfortable having a separate eraser when you're raising big areas. Tracing paper can also come in handy and is optional. Sometimes I can place it over my image, my final drawing and test things out before committing so kind of the test sheet. Or sometimes I actually draw on the tracing paper, and that way I can do different layers and then at, you know, combine it all together later and illustrator, if you're going to add color and texture digitally you'll need a scanner. Or you can use the camera phone and programs like Adobe Photo Shop or Illustrator to manipulate the image. We'll touch base and all those things later on in class. Next up, let's have fun doing research. 4. research: Sometimes I just want to jump into a drawing already, especially if I'm really excited about it. However, doing research is critical and is sometimes the best part of this whole process. We get to really daydream here. If you're doing your pet by the whole means, draw them while they're sleeping or looking out the window. If you're looking for an excuse to go on a field trip, go outside, go to the zoo, take pictures of animals you're interested in drawing. If it's an animal you don't have access to, you can go Google it or use Pinterest. I like to put my favorite music on, have my favorite snack handy in a blank sheet of paper or sketchbook. Nearby, Seiken jot down ideas as they come. I research my animal in different positions and in different angles. I think about what color they are, how big they should be and my drawing just the upper body or the whole body or just the face. If you want to make your drawing a bit easier, just focus on the upper torso and head and face. I studied the characteristics. Do they have a lot of for scales or feathers. What kind of guys do they have? Do they have a snout, large eyes or ears? Then there's the matter of clothes. What kind of personality will my animal have? Are they young, old a teenager? Are they from a different time period? Should they be wearing a uniform? Are they a football player or a firefighter? I do think simple is better. Sometimes. Try not to overdo it. You don't want to get too complicated. It's best that the animal traits really shine through and you give a hint of who they are. You should also consider where they are. Will there be a background? Maybe just a hint or border with flowers, branches or bubbles? Is it appropriate? The focus in this class will be the drawing, so don't get too caught up in the background unless you want to. But it is nice to add small details around them. There is a good portion of my research time that is taking what I see and piecing it. In my mind, I I let all my ideas kind of percolate up there. Then I do it a little bit, or write down descriptive words for reference and then I pick my favorite images. I collect them in a folder on my desktop, or I print them out. Sometimes if I'm just on my phone, I'll save them in a folder on my phone. It is nice to collect them all and place them in one spot, so you have almost like a character mood board in the worksheet. I've created a page where you can answer questions. You can collect all the images and put them in one spot. So when you begin to draw, it's really easy toe reference to that one sheet. Here is an example of my character mood boards. Share your animal in your class project title, for example, my pet pug or a firefighting cow. Take all the time you need for this part, but don't get lost. Run with what feels right right away and catches your attention. Next up, we'll talk about color palettes 5. color palette: I think it's important to think about color before you start drawing, even if I don't start adding textures and color until the end. I like to draw with this in mind, because color can really set the mood for illustration. So as I do my rough sketches and preliminary drawing, I think about where my colors might go and how to make it feel balanced. It all depends on what is appropriate for the animal portrait. Will your character be happy? Sad, silly? Where is your character doing something that would demand a certain color palette? Is your animal underwater? Is your animal in a jungle? Do you want more of a cool color palette or warm color palette? Do you wire image to be mostly dark or lighter here? Five suggestions I'd like you to think about for this class project. Think about contrast first. What There You use color or not know where your light or dark areas will be. Where will you be filling in with ink for texture? Shadow where the highlights where the paper will show through. Where will you be adding color? Choose your colors according to the mood you're trying to create Do you want it to be cheerful or melancholy? Or maybe black and white is all you need. Number two. Try using your saturated color sparingly. Too many colors and especially bright colors can be overwhelming if you are going for something that is supposed to be busy and have lots of energy and movement like a circus seen, for example, you can still limit your color palette to create unity and cohesiveness throughout the image. If you want vibrant colors that are more playful on bright, think about picking colors that are opposite on the color wheel. That contrast and jump off the page. I do encourage you to use a limited color palette, even if you want a bright color palette, tryto limit them out. Use. Try picking one bright color, one dark color and one or two neutrals by using variations of one color. You can unify your page. Try to pick no more than six colors. If you're looking for more harmony than choose colors that are similar to each other on the color wheel like purples and blues, muddier muted. More neutral colors tend to look more sophisticated and balanced and calm. You can always use a pop of color to draw attention to an area for details or to add drama . Think about your color ratios. If all your colors air using equal amounts, your image could become boring and uneventful. Pick a dominant color and use large areas of that color user neutrals the most at bright's highlight or accent and then darks of shadows. Most of all, keep things simple. If you have other elements in your illustration, think about how you'll differentiate your character from your background or border. Use different colors for your character versus the background. Eso can help organize your ideas and visually distinguish different areas. Kind of like this leaf against the green background. I have a color palette board on Pinterest. It's full of different colors. You can choose a color palette from there or use it as a jumping off point. I also like looking at popular indoor paint colors because I imagine may art in someone's home, and I wanted to fit into trending colors that people are using toe to decorate their home. If you're creating gift for someone, think about what their favorite colors are and what colors they have in their house. This could always evolve throughout the planning process, so don't get too caught up on deciding your colors right now. Add your colors to your moon board if you've picked them and share in the class Project section. Next will Frankenstein ER characters toe life without rough sketches. 6. rough sketches: we made it to rough sketches. Hey, first things first. A lot happens in your head before you ever put pencil to paper. Now that you've done your research, give it time to percolate. You don't want to copy any of the images you found. This is for reference only. Sometimes I start by drying little squares or rectangles on one page to represent my final image proportion. For example. I think I want my final piece to be a horizontal five by seven. Maybe I'll throw one in. That's vertical just for fun. It doesn't have to be exact because I'll refine it. I'll refine this as I go. This helps get something down right away. Once there is markings on the paper, it doesn't seem so daunting anymore. To start, I've included a sketch paid for squares in the worksheet. If you'd like to use that, I take my trusty pencil and I start with light strokes. I use very light, sweeping strokes so that I leave room for editing. I can go back and draw something and heavier line. If I like it, do what feels right to you. Let your brain decide. Right now, I'm just figuring out layout in large details. Where does the head go? The ears. I think about how everything relates to each other proportionally. Maybe there's something I want to exaggerate, like the ears or length of arms, or make the eyes bigger than I normally would. I block out the general shapes by using just squares and ovals or being or banana looking shapes. I do several of these rough sketches at pick and choose from different images. Maybe I like the body position of this wine, but the head angle of this one, the snout of this picture and the colors of that one. Once I have the main animal down, I start to add any clothing suggestions or accessories over the body shape. Lastly, I added any background details that might play a big part. I do it until something feels right. Don't get too detailed here. It's important to stay loose. You conduce several, teaching yourself to do several might draw out an idea you might not have thought of right away. If you're more experienced and confident in your drawing abilities than maybe you only need to do a couple. If you do think of something you'd like to try like a scarf instead of the bow tie and continue your research for reference material. Rough sketches and research go hand in hand. If you're having trouble staying loose with your drawing, then I have three tips. One tried timing yourself. Give yourself a minute or two to draw out one idea. It really forces you think of just the basic shapes because that's all you have time for, however, only try that. If it seems like fun, make sure having fun because it will show on your final drawing tip to try holding your pencil differently. It might make you draw a little more awkwardly and cause you to focus on the the bigger, more general shapes. 23 Limit yourself to the basic shapes like ovals and circles and triangles. Don't get any more detail from that. I don't know about you, but for some reason I just I want to get more detailed. I immediately start going in with with finer details. But if you stay loose, then it you really look at everything in a more general way. You're looking at shapes. You're looking at silhouettes. You're looking at contrast you're making sure that all the elements you want are there. When we get to the preliminary drawing, we can get a little more detailed. Do as many sketches is you need. You'll do less sketches, the more experience to become. But it's okay if you have to. Do you several sheets. Pick your favorite rough sketch. Usually it's the one that got you really excited. It's fun to see in progress work, So Phil Frieda's share your rough sketches with the class in your project section. Next up will refine this rough sketch in your preliminary drawing. 7. preliminary drawing: So this is where we get to take all our rough sketches and start making a more concrete drawing that will guide us during our final ink drying. This is the point where you can use your nicer paper. If you're skinning your artwork and manipulating it digitally, complain white paper could work just fine. Just make sure it's not so thin that you can see through it when you scan it or that it's gonna bleed or terror. If you're using a Heavier Inc. You might want to use paper that has a little more texture or grit to it. I like the smooth paper because I'm working with ink, and when I scan it, the roughness doesn't come through in the scan. You really will want to test out what works for you. The purpose of the preliminary drawings to give you a guy to draw over so you don't want to get too fussy with the details, but you do want to have a clear idea of what you're doing. You want to know where you're going and where you gonna put things. I still don't draw any riel. Fine details like for scales, whiskers that'll come next When I when I actually start thinking, If there's something tricky to draw, I do include the detail made preliminary drawing. So choose your favorite sketch that you did and lightly sketch out on your nice paper. The bigger shapes. The preliminary drawing should be very light so we can erase it. When we're finished thinking it, I still start by blocking out where everything is going to go. I use broad light strokes and then follow up with a few more details, and I keep getting more and more detailed. As I go, I refined the shapes and details, clothing, accessories and background. Take your time with your preliminary drawing. This is where you really need to start getting a feel for your final drawing. Once you've finished post what you have so far in your class, project on the next class will explore texture. 8. explore texture: It's a good idea to test out your textures before you start your final drawing, and you could test them out on a scrap sheet or on your tracing paper if you want to kind of lay it over your rough sketch. Ah, so this kind of helps you get warmed up and get comfortable with your materials or your ink pens. It makes you feel more comfortable with what you'll be tackling in your final drawing. So you're planning stages is like planning a road trip. You don't know exactly how the trip's gonna go. You might make some unexpected turns or decisions while you're driving once you're on the road, but you certainly don't want to get lost. In the end, you want to enjoy the journey and feel good about the end result. Here are some textures I tested out and some thoughts on how I created them. I hope it's helpful to you. Test out your own style and approach with suggestions I give you Are is like a sport in a way. You do the workouts and you do the practices to get stronger in your skills and your capabilities, and it might look different for different people. So for for I basically make zigzag e shapes that look a bit like grass. I try to be spontaneous with shapes in the direction they go, so it doesn't look so uniform. Just have fun. You don't have to fill in the whole area, so even adding a little can hit to the viewer that there's further. By darkening the line or overlapping areas, you can create depth and shadow for scales. I use basically a scalloped edge, and I use it in repetition to create a texture that suggests, kinda, um, that it could be scales or feathers or just a bumpy area. Dry texture. Basically, you're just using dots. And so, by using Dutch, you're creating an illusion that looks kind of like dried or porous. This is basically stippling their artists that create whole drawings or paintings with just dots, which amazes me. The more conducts that would take forever, the more dots you make closer together can create again. Some shadow over darker area, basically any of these textures. If you put him if you layer him or put him closer together, it's gonna create the shadows of your image. Rough texture a rough texture takes maybe a little bit more thought I basically made this to look like an elephant trunk. It's a bit more random, but I basically made lines, you know, say made horizontal lines. And then I made vertical lines to kind of create, like, little ladder type look, and so those areas suggests a cracked area. And then I added some dots. I sprinkled in some dots just to give that dry feelings stripes. So this is really easy way to create shadows by making lines right next to each other. You can fill in our area quickly after news lines for darker areas are a little texture here and there, Depending on how far away the lines are, you can create some depth. The key to most textures is repetition. And so, for example, the feather texture. This is basically a pattern. I made a feather and just repeated it. But then, towards the end, I just made basically suggestions of the feather shape, and it still reads as though the whole thing or feathers just maybe, those air smaller feathers so crosshatch cross, such as a really popular way of adding texture. Ah, and basically you're overlapping lines and different directions. You can darken big areas and create larger shadows this way. Hair texture. I love this texture for some reason and basically making long curved lines. However, I start with a heavier pressure at the start of it and then lightened my pressure at the end to kind of create a line that looks more delicate and light. Curly texture. This can be fun and also frustrating. Ah, this is basically a bunch of random, squiggly lines. Some of them have bumpy edges. Some of them are kind of going off in different directions, tried to just kind of draw my little squiggly lines all over the place, and then when you overlap it, it creates those shadowy, shadowy areas. Then there's leather. This texture is a bit of a close up of it. It was until after I drew it that I thought, well, you might not be drawing Ah, this texture that close up. But I still want to show you how I built it. Just so you have an idea and basically created bigger box of your bubbly areas and then smaller boxes to differentiate the areas, and you can see I use some parallel lines in some areas and then, um, some suggestions of lines to create more depth and interest for spots. Um, you can use any of these methods, and I basically use scribbling for this. It helps fill in the area quickly. You just make scribbling lines basically, And, uh, I did them really close together and overlap them, so So it looked really dense. So go ahead and take a look at your refs and test out some of your textures and show your progress if you'd like or what you came up with. Next up is a little pep talk. Since we finished our planning and we've test something's out, we're ready to dive into the final drawing, and so it's a good time for some encouraging words. 9. embrace your style: Before we begin the final drawing, I'd like to encourage you to embrace your style and be confident. There comes a point if it hasn't already happened where you may 2nd guess your decisions, or you start to wonder if you're good enough. Honestly, I'm doing it right now with this class. Perhaps you've seen other drawings, and you're comparing yourself. Whatever the reason for insecurity to creep in, which is a natural occurrence for many artists, I think there are three important keys to keep in mind when you're creating art. And if you want to feel free of self doubt while doing it, the first key is to acknowledge that you have a unique perspective to bring to your heart your life experiences, your skills and your opinions are your own. And so that means your work might not look like anyone else. Nor should it. Now, if you're still beginning, it's okay to be inspired by others into practice. Someone else's techniques are used, someone's art tips, and eventually your style will grow with practice. That's how you learn. It's OK to mimic others and learn from what works, especially when you're a beginner. Which brings me to the next key. Allow yourself room to grow no matter what stage. You're out with your art skills if you're just beginning and you might get frustrated with your abilities, but you can only get better by practice, so allow yourself the time to learn and grow. At some point, you take your lessons and things you've seen that you like and you run with it. You trust your gut. Which brings me to the very last key. Listen to your unique artistic voice. Well, how do you do that? You might ask if something you're doing feels right, then embrace it. And if something feels wrong, then stop. Recalibrate that. Make sure you're listening to those cues. Sometimes fear of trying something new are messing up. Your artwork might keep you from moving forward. Be brave. You can always start over and try again. Sometimes you might be trying too hard to do the right way that you might miss out on a new way. Just create make marks. Let what wants to exist exist. You hear your own voice when you create without holding yourself back. Sometimes your mistakes make a drawing more unique and fun, so embrace it. Yes, I'm certainly not perfect. I try to follow these keys to I feel like I'm more of an artistic scientists. Archaeologists. I know that sounds really cheesy and silly, but it's like I'm uncovering and discovering and drawing or painting that already exists. It's my job to bring it to light, and sometimes the hiccups along the way are just part of its story. Next up, let's start our final illustration. 10. final drawing: So we just have a couple questions for you before you begin. Is there enough contrast? Is your layout balanced? Is your silhouette interesting? Do you have a plan for color? And most importantly, are you excited to start? You should feel excited to start issue. Feel ready to go. Feel like your plan to prep to get all your tools ready to go and and it just makes everything a lot easier. So we finally get to start the final drawing. I suggest you don't start until you have a good chunk of time to work on it. As a mom, I'm constantly getting interrupted, and it's really not conducive to doing my best work. You want to get lost in the drawing like you would listening to your favorite song. You want to be in the zone and let your hands do the singing so fine a comfortable well at place. Put your favorite music on or find a quiet spot if you prefer. I always get kind of nervous and kind of excited at this point. I would suggest starting around the edges because it feels less critical sometimes that first stroke is the hardest one and I'm just staring at my image, wondering where to start. Outline your bigger shapes and then you can dig and dig into the details inside those shapes. But as I've said before, just listen to what feels right. Don't be afraid to take chances even if you mess it up. You hold the power to start again and probably do it better, because now you've got your practice round out of the way. When you start doing textures, use your scrap sheet of paper to test things out. You contest things out and see what it could look like without actually having to draw on your final drawing. Or you can lay your tracing paper over your drawing and draw accessories and details and add that digitally later. If I mess up a little, I usually don't worry about it, because I can either go over and clean it up and take it out in photo shop later. Let yourself enjoy the process and just have fun with my cat. I started on the outside and then did the face and finer details of shadows. I like making the for kind of random looking. I didn't want it to local uniform, So I did some bigger for lines and then smaller lines around the legs where the where the first smaller I use bigger strokes for shadows and smaller strokes for the natural stripes in the for intentionally wanted to leave areas white that I may be normally would have drawn in more for texture. I decided I wanted to add in color and shapes inside of Illustrator. I debated the whole time. I wanted to add the tire. Not I kind of liked it without it. And then in the end, I just trusted my gut, and I went ahead and drew it in, and I like how it turned out. It really does make me think of my cat. If you plan on adding color and texture, traditionally, have your extra tools on hand and just do your thing. Be brave and bold and embrace your style, poster progress and or your final drawing in the class project, and I can't even tell you how excited I am toe. See what you came up with and see your final work next up. We'll talk a little bit about scanning and prepping your work 11. scanning & editing: Now we're ready to scan or photograph your image and edit on your computer. First, we prepper work by erasing all the pencil marks with an eraser. Take your time and make sure your racer is clean. You don't want to make any marks from your actually racer to the paper by accident. This has happened to me in It's super annoying. You can clean it up, of course, in photo shop, but it's nicer when you have a clean image to scan. If you're scanning, scan your illustration at 300 dp I or higher DP. I stands for dots per inch. The more dots you have per inch, the bigger image will be and your detail. And of course, the bigger file size will be. A swell 300 is usually the standard size for scanning and picking up the detail that you'll need. If you know your final product is going to be a really big size, like a big poster or even bigger for some reason, then you might want to consider scanning it at a higher DP. I'd and 300. You can always lower file size, but you can't add more resolution if you've scanned it at a low d. P I. There may be some settings you can play with while you're skinning, depending up Skinner using what program you're using, for example, contrast or sharpness. But I usually do all those things after I've scanned. You can play around with that if you like, and see what works best for you. Side note. Pay attention where you're saving the file on your computer. I know this sounds silly, but my computer kind of defaults to the last place I've saved it, and sometimes I'm not paying attention, and I've saved some more funky, and I'm wasting my time looking for the file, every skinning it. So I just thought I'd say that. Then you're ready to edit and photo shop or other imaging software you have. You can also take a photo and send or load onto your computer. I use this option mainly if I'm drawing a fairly simple line drawing. Since I have an iPhone, I'll actually airdrop it to my Mac, and that's what I did with all the images that used on my intro video. Make sure your pencil lines have been erased and your illustration is clean of erasure Goobers. Make sure you have bright lighting your straight above your drawing and you're not propping anything off for your camera isn't tilted, and there are no shadows cast over your image by your arm or your face. If you want a high rez image of your work than I don't suggest you take a picture, I would probably scan it. I won't get into the details of how to scan specifically and clean up your files because that's a whole other class. There are some really good skill share classes on how to use photo shop. I will say that I usually raise the contrast that clean up the edges that crop out the background, and I make sure my background paper is white. If I've colored ministrations traditionally. Then again, I kind of make sure the background images why in a tweak, the colors maybe brighten up the colors after scanning. Then you're ready to either save your file or continue coloring or editing in ah, photo shopper illustrator. Once you have a clean file, I'll discuss adding color and texture in the next class 12. coloring digitally: If you've opted to just gift or use the original drawing as is, then you're all set to frame your portrait and gift away. Maybe you just want toe. Trim it out by a frame and from it. If you're planning on scanning, editing, adding color or texture and re sizing it, then this means you have your image scanned and you have an editing program like photo Shopper illustrator to work with. I'm going to quickly go over what I did to prep my file and color it digitally. I'm not gonna go into detail how to use Photoshopped or Illustrator. There are other classes on skill share that can show you all your different options and and how to use the program itself. First I clean up the image in photo shop, they using the Levels panel. I bump up the contrast and I brought in the paper background so you can see it better. I was careful not to lose too much details on the finer lines, but I didn't worry too much if I lost a little bit. I save it as a J peg and then I place it into illustrator. Once you've placed your Raster image into illustrator. You'll see an option at the top. Your panel that is, for image tracing this will vector is your artwork. I like working an illustrator because Kenbrell size it to any size and you don't lose the quality of the line too much. Ah, and I also like giving it this kind of screen printed look. There's no wrong way. I think you just have to kind of find your own way and what works for you. If I've colored my drawing in traditional media, then I probably wouldn't bring it into illustrator. But I usually plan ahead whether I'm going to do it in a traditional way or in illustrator . If I did color traditionally, I would keep it in photo, shopped to edit by using the image Trace Window and illustrator. I could make sure you don't lose too much of the line quality, so I play with the different options when I find what I like to go ahead and expand the image, which turns it into the vector file with points that I can edit. Then I usually start by making my color palette in the swatches panel, based off the color palette, but I already picked this way, can easily slip the color like a like a paint palette. I suggest making it later for each color you're using. This could be helpful if you want to be able to view your image with different color ways. It also keeps things organized for me With the cat. I did three separate layers. One of the 11 was the line drawing. One was for the darker shadows and one for the lighter highlights and eyes in the worksheet . You'll find a resource page, and I've listed some of my favorite tools. Also a few websites where you can find fonts or brushes or texture that you can add to your illustration. Thank you. - In the next video, I'll be doing a bonus review. I'm gonna go from having an idea all the way to researching and planning and doing the final drawing. 13. bonus review: going to use this video as a quick review. I'm drawing an L portrait. That's my project. My process has been sped up for time, but you'll see my drawing of all three step. I thought of this idea was a few years ago and I never got to complete it. The sketch kind of got buried somewhere after I had my second baby. I was researching the images for this along with my cat images. He probably saw maybe some glimpses of elk. I like the idea of an elk wearing a coat and glasses. Maybe. Ah, I don't know why. I just think that that seems fun. And I wanted to add a border with branches and an eagle, maybe flying over in the distance. Um, let's see. My rough sketches help me figure out basically the posing of the elk. I wanted the quarter view, so his head is slightly turned, which could be tricky sometimes. So I blocked up me basic shapes and where I thought things should go. I kind of made a messy preliminary trying because I was still wrestling with the face a bit , that the face seemed difficult to me, so I kind of redrew it a little bit. I don't normally have that Messi of a preliminary drawing. Usually it's kind of ready to go, but But, hey, I mean, sometimes you're still working things through, and that's okay. Then I dived right in, even though I was still nervous about this one since again, I was like, the face was giving me trouble. Do you get nervous before drawing? I don't know why, but I do. Sometimes I mean, worst case scenario, I can chalk this up toe excellent practice and draw another one. But isn't everything drawing practice? Kind of. I mean, we just keep getting better. I actually used my tracing paper. Ah, while I was doing the final drawing because I want to test out the glasses and I didn't want to commit right away. And then and then it was done. So I raced on my pencil marks. Um, I think you know, you're done when you're kind of tweaking it, and you keep adding more to it. But you're kind of like in this gray area where you can overdo it. You can overcook it. It's like when you're cooking when you're baking and there's that moment where you're kind of like, OK, the cookies are done, but I can't leave it a little longer and toasted up. Or I need to kind of just feel it in your bones that you're you're over doing it. You don't want it to be undercooked, but you also don't want to overdo it. And really, that's where your preference comes in and what you want it to. How detailed You want to go with it? I think over time you kind of figure yourself out and you figure out what you like, what you don't like or what works and what doesn't work. I vector rise it in Illustrator, and now I'm going to start drawing out the areas I want to add color with. They use the pencil tool, and I kind of just draw out not not really detailed shapes that sometimes I kind of followed the contour. But honestly, I like coloring it with more blocky shapes underneath the drawing, and so I start moving things around and figuring out exactly where I want the color to go, and mainly I'm just trying to make sure it looks balanced. Last but not least, I add in a little texture. I like it when there's kinda speckles and texture in the background. And again, I kind of come Teoh feeling of just, you know, I start taking a step back and looking at things and when I just have a good feeling about it and I feel like it's done, then, uh, I can I can call it good and and then finish imprint. So that was basically the whole process from start to finish of having an idea, doing all the roofs and planning and then drawing it out and coming to a final image. So next up, let's talk about finishing up in printing. 14. finish and print: you've come to another tricky part of creating art. When do you know it's done? Well, usually you just feel it in your bones. If you feel like it's not gonna be, don't know why that you're starting to overdo it, and it's getting overcooked to make sure you're taking the time to step back and look at your image from far away. Give it breathing room. Seriously. Have time away from your drawing. It really helps. After I've spent even a couple hours away from a drawing, I come back and I'm like, Whoa, I didn't even notice this, you know, section that I need add or that I need to change. Give it a day or so, or go for a walk or any other activity, print a sample and see how it feels. It also helps Teoh kind of test out the different colors. That way, seeing actually printed show someone you trust that can give you honest feedback. But whatever you do, don't give up on your drawing. Come back to it and finish it. If you feel that you could have done things differently than start over and make those changes, but don't give up on your idea. Printing options. So you're done, you're ready to go. You're ready to gifted or keep it or present it. You can either printed at home. If you feel like your printer is a higher quality, um, or you can use a local printer. That's often helpful because you can take your file in and they can discuss different paper options with you and help you get, um, the best print some of you might be really familiar with. Where to print your work. Different websites and resource is that you can use. I remember when I was a beginner. I really had no clue what to do next. Uh, with my drawing, I didn't realize that there was a lot of websites that you could use to print your illustrations on product and even sell your work. And now it's easier than ever. So, uh, I'm I want to quickly go over your options. There's definitely other sculpture classes that go into more detail on how to upload files to these different websites and all your different options. So this is gonna be kind of a little bit of just a crash course on different sites in different ways that you can print. And inside the worksheet I've listed your resource is and different websites you can check out and explore a little more. There are so many different options for printing and selling your artwork. Just google it and you'll see that there's a long list. And there's even websites that break down some of the benefits and then some of the downfalls of different sites. Basically, it's it depends on where you live. It depends on who you are. Depends on what you're looking for, if that's something you're interested in. So you have to see what sites offer the type of products that you are interested in selling and also what the membership fees might be, or what the fee might be to post a item. P O. D. Sites are really nice. Peut stands for print on demand, and basically you upload your artwork and they do the rest of the work for you. They will print it, produce it, ship it, and you don't really have to do any of that stuff. So it's really nice, but at times it does come with a cost. You kind of have to look at the different sides and see what product you like the most. Just takes a little research in trouble shooting. To be honest, some of my favorite sites include spoon flour. Ah, I often use spoon flour to print design and print fabrics, and I don't always sell my design. Sometimes I just use it for my own gifts that I'm creating for my family or friends. And it's your choice whether or not you want to make it available to the public society. Six is really easy to use, and on all these sites they tell you they break down how to use the site and what the specifications are and how toe, you know, set up your file for print blurb books is kind of cool. That's that's a newer when I didn't know about until recently. And all of these websites are so fun. Teoh kind of research and look around at There's a lot of different options, and there's usually templates or how twos that are offered on how to upload or how to get the best print. I would do a little research and figure out which one you like more. You could even order some samples if you want to make sure that the product is the quality that you want, so yea, you're done, that's it you've planned. You've drawn. You got into the end, and I are ready to send your image and illustration into the world however you like. Maybe it's a gift. Maybe you're using in your portfolio. Either way should feel proud. You should feel good that you started something and you finished it and I hope you continue . Teoh, Explore drawing Animal Portrait's in the future. 15. thank you: so I just want to say thank you. I've never done anything like this before. This is my first time creating a class and putting it together. And I had a lot of fun. I enjoyed breaking down my process. Really feel like I learned a lot about myself in my own process. Things I didn't even think about before that you wouldn't think about unless you broken down. And I really encourage you to post your project pros post what you came up with Andi. I'd love to comment and see what you did. If you posted on Instagram, Please shared on instagram. And I encourage you to use the hash tag that I have in the class project. And hopefully I can make another class soon, so we'll see. I