Fashion Illustration: Create a Minimalist Fashion Portrait | Jessie Fisher | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Fashion Illustration: Create a Minimalist Fashion Portrait

teacher avatar Jessie Fisher, Designer and Color Enthusiast

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

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

11 Lessons (1h 41m)
    • 1. Minimalist Fashion Portrait Trailer

    • 2. Overview of the class project, tools, and more

    • 3. Mini Lesson 1: The proportions of the face

    • 4. Mini Lesson 2: Drawing facial features

    • 5. Creating a rough sketch of the face

    • 6. Creating a rough sketch of hair

    • 7. Refining your rough sketch

    • 8. Inking the face

    • 9. Inking the hair

    • 10. Adding color

    • 11. Creating metallic jewelry and finalizing

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

This class will walk you through the process of how to go from a set of pictures of a lovely lass (or gent) to a highly stylized portrait.

Drawing on the art forms of portraiture and fashion illustration, illustrator Jessica Jo Fisher will show you how to pull the key features and forms that capture the uniqueness of an individual and articulate those features and forms using line in order to create a final, polished, minimalist fashion illustration.


Meet Your Teacher

Teacher Profile Image

Jessie Fisher

Designer and Color Enthusiast


Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Minimalist Fashion Portrait Trailer: Hi, I'm Jessica. Joe Fisher. I'm an illustrator based out of the United States and this class and the project associated with it is all about creating a minimalist fashion portrait. This is a style of work that I've been doing a lot of recently. It's really dominating my portfolio, and it's getting very popular with those that know my work. And I think that's because it marries two different art forms that really work well together. I learned them separately, but merging them is really just a lot of fun, and it works so well. The first of those art forms is portraiture, so creating the likeness of an individual and then the second art form this fashion illustration So creating a very stylized illustration of the human figure. I'm gonna walk you through my entire process as a part of this course, how I go from traditional portraiture, gathering reference photos, creating that initial sketch and then building that sketch out and really working with some of the tenants and ideas. Ah, fashion illustration. To create this minimalist fashion portrait that uses just a few design elements line, um, a few flat killings of color and then a few additional details pops right at the end to give it that style. Not really sort of holds true to both creating the likeness of the individual but creating that very stylized portrait from fashion illustration. I look forward to seeing you in the course and working together to create your own minimalist fashion portrait. 2. Overview of the class project, tools, and more: I now want to walk you through a little bit about the class project. Essentially, what we're gonna be doing in this class is taking you from a reference photo like you have over here on the left through multiple stages of illustration from creating a rough sketch to refining that sketch to inking a final sketch and then adding color and details. The class videos will walk you through this whole process from reference photo to final sketch. So what I want to do now to prepare you better for creating a great project and being successful within those videos is going over in a bit more detail. In addition to all the information that's captured captured in the class Project section of the class website is going over a few tools and resource is that you're going to need the first thing you're gonna want to have his reference photos. The second things that you're gonna wanna have are going to depend on whether you're going to be doing this in a digital illustration or if you're gonna be doing it more traditionally with regular pen and paper type medium. If you're doing digital illustration, I'm going to be using photo shop. I don't see any reason why you can't use another app if you arm or familiar with it. If you're working on an iPad pro se and you're using the procreate app or if you're used to drawing an illustrator, by all means, if you're familiar with those, um, different programs, go ahead and use them. If you're unfamiliar and you want to try digital and you have access to photo shop or want to get the free trial, by all means follow along on photo shop. Additionally, I use, um, Photoshopped brushes. I'll get into that in a bit multi more detail in a bit, but that's gonna matter. And I also use a metallic foils and all. I have some of those linked in the, uh, project section on the website, so look to their for more info on that. If you're using traditional media, the things that you're gonna wanna have our paper, potentially different papers and I'll get into this a little bit. More pencils for sketching pins for inking and some colored media markers or colored pencils, or what have you for everyone for reference photos, I want you to think about this in two ways. It depends on whether you consider yourself a beginner of your more experienced in drawing faces. If you're a beginner, you're gonna want just 1 to 2 photos. You don't want to be overwhelmed with reference photos. You want to make sure they clearly show the face. So if it's a whole body photo and you zoom in on the face and really pixelated or fuzzy, don't choose that photo. Get a photo where you can get a good sharp look at the face and then make sure the photos air straight on. You don't want the person turned. That's because if you're a beginner, we're gonna take you through some classes to teach you the proportions of the face and how to draw features. And I'm going to show it to the easiest way, which is straight full on. Like the two examples you see here. If you're more experienced, have fun with it. Choose whatever you want, mix and match photos, pull elements and details from different photos. Take a different angle. Do a full profile 3/4. Look, whatever you want to dio, it's completely up to you. I recommend picking a few different photos and actually trying to make the illustration your own. Polling from different photos for those of you using digital media with Photoshopped brushes and this is linked, um, in the class project section on the page, the Skill star class page I recommend Kyle T. Webster's Photoshopped Rush is by no means do you have to use his. There's plenty of other people who make them. You can make your own. If you're really great at it, I just use his. I think they're a great value. This is his website, where you can go on and buy the brushes. He's got lots of tools, and resource is to help you out. And I'm gonna model some brushes here in a bit, and you'll see that he is the only person I use really for brushes. I want to talk a bit about brushes and why they're important, and this is true whether you're using digital media or you're going to be using pens. So fusing traditional media just in your head for this next section. Think about when I every time I say brush thinking here pen. So there's a few things you want to keep in mind. When you're thinking about the brushes or pens that you're using, you want a smooth line. So what I mean by that is like the line here on the left and read. The edges of this line are very smooth versus the edges of the black line on the right, which are very fuzzy. You really want to go for a smooth line that's gonna give you that sharp look. It's gonna help with the minimalism effect, and it's really going to give sort of that influence of fashion illustration that pop of line on that really start contrast that's gonna help that really come through in your illustration. The second thing you're gonna want is a variable thickness, their brushes on Photoshopped that give you this as well as if you are using your hand. You can definitely increase or decrease the pressure. Some pins are better on this than others if you're using traditional media, so just keep that in mind. It's something that you'll likely want, and the last thing is you want a pen that you have good control up if you've never used, say, a brush pen before. If you're using traditional media do not choose. This is maybe the first time to do it. I wouldn't recommend it. Um, if you're using Photoshopped brushes, just make sores of brush that you feel comfortable with that you're using. I'm gonna actually jump over and show a few Photoshopped brushes now. So if you're working digitally but you aren't familiar with switching up brushes and photo shop, you can get a sense of what that's like. So here I am, in photo shop, I'm gonna show you the couple brushes that I use if you're getting Kyle's. He Webster. These are all from his Make a pack, I believe so when I am thinking, I use his ink in thick and thin pretty much all the time. It's the brush that gave you the red line. It has a variable pressure sensitivity, so if you're pushing light, you're going to get a thin line as you increase the pressure. If on your stylists thing you're going to get a thicker line. I think this is by far the best brush, but he has a ton, so definitely click through an experiment. I should also note here that I am using a tablet and a stylist attached to my computer. If you do not have one of those and you're using photo shop with your mouse, just know that it's gonna be very, very, very difficult to get the smooth lines that you want. And you won't be able to vary your pressure sensitivity using a mouse. So I highly recommend if you're going to take the photo shop approach that you have a stylist and a tablet that you can used. The brush I use of hiss for sketching is actually he has a ton of pencil brushes, but the one that I have found I like the best is the sketch pencil ref to, And the reason I like this is it just gives me a little bit of sketch quality bets it in black. I actually typically drop it down into a gray to sketch with. It also has variable pressure sensitivity. You can see if I do a light touch. I get a much lighter line. If you prefer to use the brushes that come with photo shop as opposed to getting new ones, you can do that. Absolutely. That's fine. I'm gonna go over a bit about how to think about those. I'm not gonna really go into depth about how to change brush settings. I'll show you where they are if you're adventurous and you want to play with around with them. But if I'm on my brush, I can go here and I can see some of the original photo shot brushes. Please give you a sense of what they are. Essentially, you have your pixel size up here hardness of its an options here. And then these are just the different brushes. If you see a brush similar to this, this has that hard sort of outline. So this brush is going to give me a smoother edge and in theory than a brush. Say, with this on it, you get the fussier edge. And so I would I recommend doing is just clicking on some Photoshopped rushes to find ones that you like. They do have ones preset with dynamic. So say I choose this brush. Um, when I click out of it, you're going to see this piece up here. That's because this brush moves and it's gonna give you a sense of how it's moving. So it assuming I'm on black, let's just play with this one. I'm going to get some shape dynamics I can. We'll make the line thinner. It's a little bit, um, knock a fuzzy around the edge. But maybe that works. It's actually pretty close to giving you a smooth line. Um, if you wanted to look at something like this and you wanted to say that, can I change those elements of the brush? If you go over here to your brush panel, you can actually see these are the options, and so you can play around in here. You can also use this to select different brushes as well. Um, and this right here are the settings. Again. I'm not going to share how to use them. But if you want to play around with him, that's where they are. So for sketching, they have different ones in here. You may just want to play around, pick a few. If I picked this one, for instance, I'm zoomed in pretty far. So you can actually see this line is giving me a light line. It has variable pressure sensitivity. If I zoom out a bit, you can see it is a small line. This might actually be a really nice sketching pencil. So if you're going to use regular Photoshopped Russia's, there's plenty in there. I would just play around, find the ones that you want, the ones that work for you and use those. The last thing I want to talk through is for those of you using traditional media, we just covered brushes and pens. If you're using paper, there's actually probably three different types of paper you may want to consider tracing paper. So when we are working digitally in the classes, you're going to see him adding new layers and photo shop. That's the equivalent putting a new piece of paper down. You probably won't add as many pieces of papers all add layers. Just cause. It's not a simple, but you will want to go from your initial sketch to your refined sketch. You'll want to move on to a new piece of paper and from your refined sketch to your thinking sketch, you'll want to move to a new piece of paper. And sometimes the best way to make these transitions is actually on tracing paper. Otherwise, you can use plain white copy paper just for your sketching. Um, and then if you're gonna be adding or using markers at the end or any type of particular media watercolors. If that's your color of choice, use one. Make sure you have the appropriate paper for your media and then finally tracing tools because you are gonna be going from one sketch to another and building out and using the previous sketches reference, I highly recommend a light box. It's going to make your life so much easier if you don't have access to a light box, you can use tracing paper alone. But you really want to go over your lines for the sketch that you're gonna be tracing over to make sure that you can see it and if you can. If all else fails, you can use a window. I think this is exceptionally tricky and really hard to dio, but light coming in from a window will really allow you to see if there's a particular area you can't dio. If you really don't have access to ah lightbox or something like that, I'm going to say right now it is gonna be tricky, but it is an option, so those are all the things you need to know for the tools and the class project, and now we're going to jump in. If you're a beginner, jump into the many lessons and learning how to draw the face. If you're more experienced, go ahead and jump straight to the first video for creating our initial sketch. 3. Mini Lesson 1: The proportions of the face: a lesson on how to draw a face we're going to do to quick lessons on this first lesson is going to be on just the basic structure of a face we're not going to draw any particular futures were not gonna worry about your reference photos. I'm just going to draw and for you guys the basic proportions and outlines of where features will go. So then, the second mini lesson. We can actually start mapping in some features, so that then you can rejoin sort of the basic flow of the class, and you can use the frame with features to go into sketching your particular person from your reference photos. So go ahead, put your reference photos away and let's jump into drawing the basic structure and outline for a face. So we're gonna start with the shape of the face, and we're gonna use a basic oval here, and what you want to do is you want to draw your overall on your page. Don't let it be too big, because you want to leave room for hair and neck and other pieces, so give yourself some room around the edges and map in just a basic oval. And this is the shape of your head. Excuse me. I've been saying face, but really, what we're drawing is the shape of the whole entire head. And the first thing we want to do is we want to give ourselves a center line. So while our faces aren't perfectly symmetrical, they do act across an axis of symmetry divided into right on the left. So give yourself, Ah, line that kind of go straight down the middle, right and left and feel free toe. You know, take a couple shots at this till you get a line that you like, and that's gonna be your center cemetery line. The next lines were going to be drawing, we're gonna draw across the face and sort of just marked the basic placement of the eyes, nose and mouth. So the first time we want to draw is actually dividing the face in half again, this time a top half from the bottom half. And so go ahead, draw your lines so you have two equal halves, a top and a bottom, and we're going to go ahead and label this because on this line is where we're going to end up drawing the eyes in just a bit, and I know this seems probably kind of low because when you look at somebody's face, their eyes don't fall in the middle of their face. It almost looks like their eyes should be up here. But that's because remember what I said earlier. We aren't drawing the whole face here. We're doing the whole head, and part of our head is taken up by our hairline, so we don't want the face to go to high. Otherwise, we're stuck with no hair line on our head, and that's what you get, sort of that Look where the hair just looks like. It's kind of falling off of this oval and things are a little misplaced. So trust me, even if it doesn't exactly feel right, your eyes are going to go half way down the head. We're not gonna draw the other lines for the remaining features, the nose in the mouth and the nose. We're going to do the same thing. We're gonna take the distance between the eyes and the chin now the bottom of the head, and we're gonna cut that in half, and that's going to be the night line on which our noses going to sit. And this is the base sort of bottom of the knows where the nostrils hit in the widest part of the nose. So right now, that's our nose line. And now we want to draw our mouth line and we're going to the same thing again. We're gonna take the airline, and about halfway between the nose line and the bottom of the chin, we're going to draw a line. Someone's a little high, and that's going to be our mouths line. So this tells us about where all of our futures fall. Our eyes, the nose and the mouth placement on the head vertically, top to bottom. Now we want to talk a bit about wit and just basically map out our wits. And the way that we want to think about our wits is we're gonna start with the eyes. And the important thing to remember here is that the human head is five eyes wide, so the width of one I is going times five is gonna give us the width of our head. So I'm gonna do a little trial and air here, but let me show you what I mean. I mean that Get these right on the first go, but will draw him until we get him. So if I have one eye that's about this big and I want it centered, remember? Cause we're going for a symmetry. Then I'm gonna draw two more, and they should take me about to the edge, So that was a little small. Here we go. Five eyes wide. This is about the width of the human head. This shape right here and this shape right here are going to be the actualize that we end up drawing. So I'm gonna put a red mark here on a red mark here to let you know where our eyes fall. So go ahead and draw those in. You want five eyes wide, and you may have to erase a little bit. You might not get it right on the first go. Um, and then you want a mark in the lines that give you your five equal sections. Now, if we go down to the knows what you're going to see for the nose is that the sort of average nose? And these vary, But the one we're going to do for marking up our basic template is the nose is going to fall equal to the outer edge of the nose is going to fall equal to the inner corners of the eye. So if you were to take these lines down the equal the inner corners and mark a line here and mark a line here, this is going to give you the width of your nose. And then a basic marker for the lips is that they're gonna go from about middle of the I to the outside of the iris. So you'll see what that means in a little bit in the next video. Um, and be a little bit wider, so we're just gonna use the middle of the eyes are guide right now. And we're gonna draw that down right here, and you're gonna have your mouth. This is a little white, but we'll clean it up. This is the easiest way to remember, given what we're doing. So now we have not only where eyes, nose and mouth fall, um, vertically on our head, but we have about their basic wits mapped in relative to one another. Now there's a couple other things we want to add. One thing we want to add are the ears and the ears air going to fall from the eyes to the bottom of the nose. So this length right here is going to be your ear on both sides, just falling in between these two lines. The other piece is that I want to talk about briefly just so we can kind of sketch them in . So you have them in mind. Are the hairline and the neck and so with your neck? What you want to see is that most people tend to think that the neck is a little so most people tend to give people a little Mac like right in here and what that realized looking is like way too skinny in reality because your head's heavy. It's about £8 needs some sturdiness to keep it up, so a little bit shy of the inside. So if you follow this around, maybe about midway through that last open, I you're gonna get an actual neck. So the next a lot whiter than you think it. It's almost the width of a head, and then your hairline, remember eyes don't look like they're in the middle of the head because your hair comes down on your forehead when you're looking at it. And so the basic general shape for a hairline is just draw a line and these can range very dramatically. I go about 1/3 of the way down, draw line and then bring it. It's sort of a diagonal here, and these are the basics of where hair is located. So now you have the general frame for a face. What we're going to do in the next video now that you have this, is actually start to build in some futures and talk about the different shapes that are involved in the different features. 4. Mini Lesson 2: Drawing facial features: Welcome to the second mini lesson. We're now gonna build off what we learned in the first mini lesson which was creating this sort of basic outline of wear. Facial features fell on the face, and we're gonna actually build in some sort of generic facial features. And I'm gonna walk you through the various things that you're going to draw to represent the three D form of the face through its facial features on a two D drawing. These are gonna look and change depending on who you're drawing and what they're sort of heritage is what their facial features look like. But the basics that we're going over here will be the basics that you can use regardless of who you're drawing, the things that we all have in common ways to think about translating the three D forms into tooty. So let's get started. The first thing I'm going to do is I'm actually going to, ah, drop the opacity of this layer that I'm on, that I can still use it as a guide. But so it's not to sort of distracting. I'm a pop, a new layer on top of it, and I'm gonna start all over again. So I'm gonna redraw the outline of my base here Something to draw the oval shape that I want for my face. Perfect. And I'm gonna redraw my center line. Oops. Get that How I want it. There we go. Um and I'm gonna re draw my guidelines. So that's my line that I have for my eyes, which is half way between the top of my head and the bottom of my head. Redraw the line I have for my nose which is halfway between my eyes and the bottom of my head or my chin and redraw the line I have from my mouth which is going to be halfway between the my nose and the bottom of my face. Imagine so I have the basics mapped in. I still always map this in on every drawing that I start out with. Now that I want to dio is I want to jump into drawing the features and talking about how each feature is made up and we're gonna be talking about the basic framework of each feature. So we're going to start withdrawing and I now foreign I ah the the way you want to translate the three D form of an eye, which is really Ah, socket that has an eyeball in it that's bigger. We don't see the full live all, and then some eye lid, some skin that covers and protects that eyeball and the way you've got to translate that is actually through some specific lines, mostly. So we're going to draw the lash lines were going to draw a crease line, and then we're going to draw. Gives a basic shading for the eyeball, the iris and the pupil, and that will give you a pretty good sense of the shape of an eye. The basic generic shape oven I I've heard some people describe it as an oval. Other people describe it as a lemon, and here's why people often give the lemon description because of the inner corner of your eye. You have this little piece that sort of curves in like this. This is where sort of one of your tiered exit, and so when you cry, you always hear people see it drawing from the inner corner of the eye. That's why your tear duct in some other muscles connect there and then you have sort of this oval shape, but it's kind of pointing at the other end. So that's why people sometimes call the basic shape of an eye like a lemon. Because you don't come to to form of a point here because you're missing some anatomy, Then these lines right here represent the various lash lines. So it's off of these that we see eyelashes come off. Of these also are the edges of your eyelids, so they give you the outline of the shape of your eye. So if you ever hear someone saying almond eyes around eyes, what they're really talking about is the shape that are lash lines or the shape of our islands. Make that allow us to see our rivals so we'll use. This is our basic shape. Right now. It's kind of a basic generic eye shape. Inside, we have our eye ball, and the what you typically see is you see some shading at the inner and the outer edge. Because the eyeball is round, the socket shape of this shape is sort of oval, so we don't see it. Also, here's our eyeball kind of falls in here on our eyeball. We haven't iris is the colored part of the eye. Ah, blue, brown, green. Whatever color it may be, the IBIs is circular. It is a perfect circle on your eyeball. However, we rarely see the whole circle like this in less were surprised. Let me zoom out here and you can see it really is gonna look like this person's like, Oh my goodness. And that's because unless we're really trying to open our eyes wide like we do and we're surprised you don't see the whole circle of the iris. So what you see instead is you see, it's kind of bigger and it's cut off. Typically, we see a bit more of the bottom than we do at the top. Typically, the tops cut off a bit, and this is your iris. The colored part and inside is your pupil, which is the dark circle. So that's the basic of the I. The other piece here that could be helpful to draw sometimes is actually the crease in your island. So this happens up here, and basically, when you close your eyes, you have enough skin to cover that that when you open them, there's typically a crease, not you can actually see it on everyone. And it generally follows the shape of the, um, upper lash line, but not always. Maybe sometimes it's a little different, but you get a basic crease line in there. That's the basics of an eye, because we have to and the opportunity to draw it again. Let's draw another one. So let's start with if you want, think about like the shape of a leading you have the inner corner. It's going to give you that little curve for a tear duct. You're gonna have the upper lash line, and you're gonna have the bottom lash line. These air really theaters of the islands. You're gonna give yourself a little bit of a shape here for your eyeball, so I'm gonna have a little shading on the edge, and then you're going to draw your iris. And remember, you're even though it is circular. You're not gonna see the whole circle. You're going to see a bit more the bottom, the top, that hops gonna be a bit more cut off, and then inside you're gonna have your people, and that can change sizes. It's dilating us, you know, and then you're gonna have your crease line, which is the crease of your upper eyelid as it proposal that skin back. So that's the basic shape of your eye. The other piece you have with your eyes, your eyebrows. So your eyebrows, they're going to fall along your brow bone, which actually sits above your eye. Um and so what you're going to see here is that the eyebrows typically start a little bit further in from the I. So if you want to come in and draw yourself a line and then they extend a little bit past the I in general so a little bit in and a little bit past and what the's ours is we're gonna see its one sort of continue motion from the knows where we're gonna draw it separately. Um, there's different shapes. I'm gonna show share three sort of shapes that eyebrows can take. The first shape is going to be an art shape, and the arch is gonna happen up towards the outer edge of the eye and you're going to see an eyebrow that kind of looks maybe like this has this arched shape to it. That's one eyebrow shape Another eyebrow shape is sort of what I called 1/2 moon shape. It is gonna arch, but it's not gonna have this sort of distinctive arch that happens at the edge. It's more gonna look kind of like this. There's going to come up and it's just gonna sort of arch. That's another eyebrow shape that you can have. Typically, eyebrows start thicker in the middle, and they thin out towards the edge. How quickly that happens, or how thick and thin they are, really depends on the person. The last eyebrow shape you see sometimes, um, is instead of the arch, it's actually even almost more straight. It really doesn't have much to it at all in May. Thin. It may point down a little at the end, but it's more straight across. But the basic idea here on the eyebrows is they start a little bit outside. They move a little bit on the outside edge to they follow the curve of the brow bone, and they take one of three typical states an arch, the moon or this type of street. So you'll see that this is gonna look weird person with two different eyebrows. All right, let's jump down to the nose. Really, what you have when you're looking at a no straight on the forms that you're looking at is you have this fear that's like the tip of the nose. Sometimes it's square, or sometimes it's Shapey. Sometimes you'll see some of the button nose they really have that knows that looks, Ah, around that's around sphere and it's connected to nostril. So you have your openings here and you almost have another little circle right here, and it's all connected. There's a piece of skin that comes down that is connected. So this is the basic idea, the shape of a nose here. This isn't necessarily how I recommend drawing it. I wanted to point this out so you could see what forms that you're really doing here. How I recommend drawing it, on the other hand, is like this, and this will help later in the class because it's going to get you back to sort of the very minimal shapes that you need to draw to be able to get in. So here's what I do when I'm drawing my shapes is I'm gonna draw the outside of my nostrils first and they're gonna hit at the width of my nose. And right now, for me, for my generic form, the width of my nose is as wide as the distance between the two inner corners of my eyes. And the shape that I'm going to do is a basic sort of almost like a set of parentheses. And those are gonna be the A shadow form by the outside of my nostrils. The next piece I'm gonna draws the shadow of that connective piece of you. Put your finger on the tip of your nose and you drop down. You're gonna feel that it connects to your face sort of above your mouth. And there's a shadow that falls there at that line and is about, you know, very wide, right, sort of centered. And then what happens is you have the skin that comes around and forms the outer edge of your nostrils. So you've a piece of skin that sort of comes around like this, and this is going to be your national that's, you know, the open whole area of your nostril. And what you see on people is that because this is a three d shape, there's typically a shadow in here that lets us know that the nostril has some shape to it , and depending on the person, you may end up with a really big shadow. Their nostrils really may come upto almost a full circle, or you end up with this really thin shadow like that. But there's typically some sort of shadow here that makes the line look thicker. And, like I said, it could be big or it can be small. A. Typically there will be some room at the edge like that, some skin that goes around the edge. So that's the basics of how I would draw knows. And I wouldn't worry about other three D forms yet. Now we're going to jump over to the mouth, and we're going to talk about the mouth in sort of a similar way. What you really have at the mouth is you have two sets of lips. If the mouth is closed, that's really are, you see is 23 dimensional forms, an upper lip and a lower lip. The best way I can think of to draw them in to help you is to actually start with the where the lips meet. It creates a shadow, a line, Um, and that line has a pretty typical shape. It isn't often straight across unless somebody is, like, really sort of person person, their mouth together when they're just sort of relaxed. The shape you get is almost an extended em where the outside is kind of low and then it jumps up. It dips in the middle, comes back up again, comes back down and, depending on the person, it may get thicker in the middle, and the line may thin out as we go along. So this is the shape between the lips. The bottom lip typically doesn't always extend, or we don't see much of it. At the outer side, there's not much color. Instead, it drops down a little bit further in on each side and then connects. That's a pretty thick lips. It's the person has the clips. If they have been lips, you might see something a little more like. So if they're pretty thin, or if they're really someone has really full lips. You may see something more like this, but that's the basic shape. Is that kind of angle down that kind of flatten or they round out and then they angle back up for the bottom lip. The top lip extends a little bit more of its still, not much on the outside. It's gonna come up to the Cupid's bow, which is this little point here at the top of the lift that you used to seeing. Some people have a really strong Cupid's bow like this, where there's a really sharp shape, other people there. Cuba's Bo is way more subtle, almost non existent like that, and you're going to connect the Cupid's bow. Some people have more of a straight line connecting. Some people have more of a rounded line connecting the Cupid's bow. It all depends on how full their lips are, and you just have to look at the person. So now if we scroll out, you can see we've sort of drawn the basics of the various face pieces. The last thing we want to sort of draw in terms of facial features on the bottom half of the faces, the ear, the ear. The best way I can think to draw it is if you draw and start with 1/2 moon shape like this and then you build it out a little, so you give it a little bit of weight at the top, follow it down, and then you curve it back up. That's the easiest way to draw it. Now let me break down that shape and explain why that is. I'm gonna jump over to the left side to show you here. What you really have when you're drawing the shape is sort of the outline of three different parts of the year. So you have this sort of bit of upper cartilage that comes around like this on your ear. It's going to meet up with another ah bit of cartilage. That sort of comes like this on the outside of the year. And then this is going to connect with your ear lobe and then on the inside of the ear, you have the the little pieces, except and then you sort of have your shadows back in here for your ear of all these pieces that go in. So that's really what the year sort of looks like. But in general, the basic shape that you can get if you're trying to think about it, is almost 1/2 moon shape with the sort of curve for the top and the connection of the ear lobe. And with that, we have the basic outlines of a face. Now let's add in some hair now the hairline. You can see it from the lower bit here, Um, it comes down and it very, very much very. Some people have very high hairlines, and people are very low hair line on, depending on the hairstyle. Sometimes you can't see the hairline. Um, so let's just sort of draw in a person who's kind of brushed their hair back. It's still down. It's a girl. She's maybe brushed her hair back, but it'll give us just a sense of hair. So let's assume she's got some hair. This is her hairline. We're gonna use. The line that we drew earlier is her basic hairline. She's sort of flung some pieces over. This hair is kind of back behind her ear so that we can see the years and you'll notice I'm extending beyond my head. That's because your hair has body. It's never flat to your head. Your hair is going to take up some space. And so if this were my person I would assume that maybe she's got some hair here, right? And then this hair is coming in and it's gonna come down right in here. This hair is coming behind your ear. She's got hair here that's gonna come behind her ear. This hair is going to come over and down. This hair is going to come behind her ear here, and I'm gonna see hair come from behind her ear all the way around her head and back behind her neck. So all of this and all of this and all of these pieces are going to end up being the hair that we see and you'll notice the hair has a good amount of body in it. And this is really what's going to end up giving your person the full shape. So with that, we've now sort of drawn the basis. It looks very cartoony. I know, but remember, we're just spending this class learning how to draw a basic short of generic feature. We're gonna be able to take what you've learned in the previous lesson on the proportions of the face and what you learned in this lesson about how to just generally draw each feature and use that as you move forward into the next lesson and pick up with the rest of the class. And what you're going to be able to find then is how do I now add in looking at reference photos and take the distinct sort of features, the unique shapes, um, and quirks that happened in every person and used those to inform how I draw my future and I will walk you through that in the next class? I just want to say before you jump into that class that if you're new to this, if you went through the many lessons because you feel like you need a little bit more experience than take your time with the next lesson, don't be afraid to pause the video and give it a couple tries. You're going to see me go through pretty quickly, but I've edited the video, have sped things up, and I've had lots of practice. Also, if you need to come back to this video and you can remember to draw the basics 5. Creating a rough sketch of the face: the first episode. Just give yourself a sketch. They conserve is the foundation. If you went through the many lessons, remember, this is sort of our basic sort of framework about the proportions of the face. And you can use this is your guide. And don't be afraid to go back to part one or part two of those many lessons is we're drawing this out, and the first time when I look at is the shape of her head. So she has a pretty oval head. She's got some squaring of the jaw here, so I'm just gonna rough in kind of a shape And remember, you don't want your shape to take too much of your space. You want to give yourself room for hair And so if I'm paying attention to her, I'm sort of roughing it in her face shape. She has a very flat chin in here. And if I'm looking, she's sort of coming to an angle coming down. All right, that gives me the basics. I want to give my center line. So I know where I'm going on. I'm gonna start mapping in some of my features, so I have my my eye line. That's halfway down my nose line. That is halfway down Ah, and my mouth line And I'm a generally cheat my mouth line up just a little above half. I'm now going to jump in, and I'm just going to rough out her eyes. Remember, there's about five I wits across the face. I always check just to see if you were to look at it. Sort of extends beyond, but this is where her hair is hurt. The shape of her head is probably out here, so that looks about right. She's actually got kind of wide eyes. They're gonna extend a little bit further than Emina. Look at the shape of her eyes as well. She's got these very sort of slim pinched looks their wider towards the outside than they are towards the inside. Um, and the last thing I'm gonna look at before I go in is actually going to be the tilt of the eye. And this is what I mean by this. Sorry, this picture, someone pixelated. Um, but if I look from the inner corner to the outer corner of the eye, I'm going to see if they're in line with each other. These ones happen to be. She's got pretty straight across ice. Some people's eyes tilt and you notice that the outer corner comes higher and so you'd get a face shape with the I kind of drops like this. Um and then sometimes it drops lower This when you see people they hear you say, Oh, they have a little bit of a droopy I typically that's because the outer corners below the inner corner from my particular person there in line, which means I'm gonna say straight on my line. Um, but you'll want to check yours. So based on the things that I picked up from my person, I know that her eyes are a little bit wide. So I'm gonna mark in my eyes here to give myself in adjustment. Um, and I enjoying a fashion portrait so I can take some leeway. So you're both slimming things down in terms of length and elongating, and then you're really making other things, pop. Ah, by sort of enlarging them. Those are two of the facets that we use in passion illustration to give some of the look in this case, I'm going with the fact that her? I seem somewhat wide and using that to my advantage and making them even bigger to give them some style. I'm gonna sort of zoom out and see what I have here relative to my picture. I'm just gonna give it a check this size a little bit too wide. If I'm comparing this well, maybe a little bit. Finn s. I'm actually gonna thin this one down just a bit, and I'm gonna make this one a bit thicker. And I am just roughing things in right now. I'm not worried about perfection. I'm gonna drop her irises in, get them about the right place in size, her people so kind of hard to see because she has dark eyes and there's a lot of highlights from the lights. But if you look, you can kind of see them positioned right in there. I can use the whites of her eyes to give me an idea of shape to help me determine if I have my irises in the right place. Does this shape here look about, like that shape there? Um and it does. And again, her people, you can kind of see it. Sorry. In there. Um, but it is hard to see cause she's got the darker I and the, uh the highlights are really covering a lot of the eye from the lights. So that's the basics for her eyes. I'm just roughing things in. I'm gonna jump to her eyebrows, but I'm gonna check both their with. So this one does start from further in from the inside of her eye and extends out Pastor, I not the quite the way to her, um, the edge of her head. And we do have an arch. And that arch falls right about at the outside edge of her. I that is a far arch eso I'm gonna come in and I'm gonna give her. It's about in another I with tall. I'm gonna give her her art should surrounded, arch. No, that's about it. And then she's pretty sick and then thins out. So that's about the shape of the eyebrow. All right. And now I'm gonna zoom back out and see if I'm seeing what I'm scenes. And what I'm finding is this looks about right. Other. So these are just roughed in shapes right now. I'm not going to go down to her nose. First thing I want to check is the width. Ah, it does see appear tow line up with the inside of corner of her eye, which is about if you were in the many lessons. The frame. I said some people's noses are wider. They can come in a good distance. Hers just happens to fall in within this space. So I'm gonna drop these lines down for me, all right? And that's gonna be the outer edge of her nose. And what I'm actually seen is ah, if you remember back from the many lessons the lines that I focus on here to really give a look because, as you remember, we're going for a really sort of stylized portrait which is gonna look some like this is an example. And what you're finding is we're really taking the minimal down. And for the knows, what you really see are the shadows, the shadows within the nostril and that the outer edges create. So I'm going to do these three pieces. The stouter edge shadow, the shadow of her nostrils and the shadow from where her nose connects under the bridge above her cubits bow and That is my just sort of rough sketch, and I'm gonna check it, and I'm gonna find him a little wide here, so I'm gonna adjust that accordingly, and that's gonna be about the shape of my nose. It really does come in here. She would you would see the ball of her nose right here. Um, but I'm not gonna worry about those for the sake, because I know I'm going for a stylized portrait and those aren't going to show up. I'm not gonna look at our mouth. I mean, do the same thing. I'm gonna test my wit on her mouth. Um, and I'm going to see that it is about the outside of her iris. So I'm gonna drop that down. Um, if that's just shy of the middle, if you're referencing from the previous, um, class where I went to the many lessons and I'm gonna do the same thing I did in the many lessons which I'm gonna focus first on this little bit here. Ah, this line between here. So I'm gonna notice that it drops down a pretty good little angle and flattens on both sides on and then we have a little bit of a curve here. So between the nose, I actually have a little bit of a curve here. It's kind of thicker right there. And then it's gonna drop in, straighten, sort of out. And this one drops and actually comes up a bit. Now that I have these features and I'm gonna go back to her face shape and there's a few things I can tell Ah, her face is a little bit longer. So her chin is actually going to come down. It's about the width of her mouth to the innovation. So she has a little bit longer over chin than sort of my generic. And it's straight from almost the outer corners of her mouth, but not quite so I have this sort of straight line here. Um, she's got these really defined cheekbones here, which falls sort of just under her eye. So if I'm going just under her, I know I'm gonna have these sort of cheekbones right in here. So the math, those and then we have the hollow and this sort of sharp angle on the chin. So instead of trying to get all the perfect curves right, I'm actually just gonna pop this in angular early. So I know that about even with the mouth is where this angle happens right here. So I'm gonna draw about, even with the mouth. I have that marked from the chin, which I drew earlier about the right width there's about she's got this angle. So I'm gonna mock bad in here that angle drop that in here. And then this isn't straight up it. Actually, if you look it from this point of this point, there's a bit of a line here. There's a curve, Really, But I'm not gonna worry about that just yet. Connecting to that cheekbone. There's a curve there, not really worried about that. Yet all rough that in, come up and then we're have most of her face. And what we're really going to think about now is the hairline. Now that we have sort of this basic rough in shape and it looks like on her, this is about halfway halfway her head would end somewhere right around where that blue daughters s O hare hairline maybe comes about 1/4 of the way down. And it's a pretty squared off hairline and that I just kind of go towards the edge. So I'm gonna just a rough in a hairline right about here, okay? And then her ears. I can't really tell the shaper for years cause it's covered by her hair. So I'm just gonna drop in this little bit that I see down here the one ear lobe, I concede. And then the last thing I want to rough in is her neck. So what we have is about even with the edge of Ryan, you can see her body's actually twisted her. Um, right shoulder right here is pushed forward a little bit. So you're getting a bit of an angle on the neck. I'm just gonna use where it connects is a reference point. I'm just gonna drop straight down, so it looks like it connects about even with the outer edge of her eye. That's gonna give me a neck right about here. Um, I'm gonna use that on both sides because the hair is covering her neck on this side. Okay, this is gonna be my rough for the sketch. So this is the first sketch that I'm gonna use to sort of get an idea of who my person is. So if you had any confusion on this, you might want to flip back and forth between this and the mini lesson as you're working out the basic shapes and in the next class will go through roughing and the hair. 6. Creating a rough sketch of hair : Now that we have roughed in the facial features, I want to take some time and rough in the hair. Um, as you'll see from a lot of my portrait. I don't show all of the hair, but I always make that decision towards the end as to what's gonna look a right with the portrait. So I want to make sure that I'm starting my sketch with a full sort of rough in of the hair . So I'm going. Teoh, um, reduced this and look at my photo and get a basic shape of hair. And the first thing I want to do is just kind of understand what's going on with her hair. When I look at hair, I look at the individual sections of hair. I don't look at the individual pieces of hair. There's thousands of them millions of individual hairs on the given person's head, and you don't want to focus on and look at what each individual hair is doing. Rather, you wanna look for where there are sections of hair that create almost their own shape and form, have their own direction and movement, and look at where those air placed based on shadows and highlights, and that's gonna help give you a sense of what's going on overall with the hair. Let's take a look at what's happening in our sketch, and I'm gonna map out. Look at the hairline. Was that where the different sections of hair and walking through how I sort of breakdown and analyze the hair so that I can rough in the sketch we do see are harrowing. Her hair is kind of pushed back, and the best I can tell she has dark hair. So it's kinda hard to see in this photo is that this sort of section of hair is kind of coming up, and this section of hair over here is kind of pushed back around as if she's run her hand through the front of her hair and sort of pushed it over to my are left side, her right side. Which means that the our left side, her right side of her hair is really sort of full compared to, um, are right side her left sign. It hits, you know. So it's medium length hair. Ah, and its relatively straight. There's a little bit of wave to it, Um, so I'm gonna just rough this in. And I already did a rough hairline, so I'm just gonna go onto a new layer. I'm gonna rough in the idea of her hair, and it looks like starting about over here. This hair has sort of come around, and then over in here is where we get the hair. That is sort of coming up in, up and through. All right? Yeah. And it does stick out kind of far from her head. Um, this hair is running right next to her face. That's why we didn't draw. Couldn't see the ear. Um, so you see her hair running right next to her face, and so we can see the from about the cheekbone down, but it looks like actually a piece of hair from Mrs right in there and comes back. You're a piece of hair sort of coming down here right there. The outer edge kind of seems to come from here. So this is where most of her hair is coming down and we're getting some hair coming out over her shoulder rough. Now I'm just roughing and kind of the general shape. Now that I've got these in but I've got some general direction pieces here to help me understand what's going on. And then she has some hair coming in front of her neck as well. That's just a basic rough of her hair on that side. Now, at this side, you can see she's kind of got some wispy. Is this here? So maybe came back and didn't quite know where it was going. And then the majority of her hair sits right, sort of over and around her ear. So it does come over her ear, and then it comes right down around her ear and we do see her neck here so it comes over, but we don't is not covering like it is over here. Um and then she does have this one piece that sort of coming out right here and reconnecting. And you can see I gave her hair quite a bit of body. Um, I think sometimes we shy away from making the hair with as much body as it needs to be together. The look ah that we want. So don't be afraid to give us some body. You can always take it down. So there's the rough in of her hair. Typically in this tire, I'm gonna rough in some of the shadow points. It's very subtle on her, but you can still see it. You see, we have a highlight right here, but we have a shadow area in here, so I'm gonna rough in sort of a shadow area right here. So I know where it is. Um, we have another shadow area sort of back in here. You have a piece that's coming forward, which means these pieces in the back right in here are getting shadowed. Um, and then the same thing back in here we have another sort of shadowed set of pieces of hair and then the hair in the back here, this sort of peace comes forward and we get the hair back here is sort of shadow right in there. Excuse me. The same thing I'm gonna do over here. We actually have a shadow deep in here. Ah, this hair is kind of in shadow right along here behind her year. Obviously snuck pretty much light in there. It's gonna be shadowed, and then just it's pretty light up in here. You're going to get a piece that's down here that shadowed and then within some shadows, 7. Refining your rough sketch: Now that I have fully roughed in the look of the face and the hair for my person, I want to go back and refine the rough. And this is my chance to clean up some lines where I sort of put like the angles on her face. Aiken, smooth. Some of those out get some of the shapes. Anything that I think may be wrong, Miss Shaped, Um, in the wrong place, the proportions. Maybe I can adjust some of that when doing my rough. This is your chance to step back. Look at what you've drawn relative to your photo and go ahead and take another go at it and clean it up. So here is what I dio I go ahead and drop the opacity of the face drawing and the hair drawing down. I'm gonna create a new layer, and I'm gonna start to build out, and I'm gonna focus first on sort of the places where I think maybe there's a little bit of adjustment or smoothing out to be done until the first place that I want to look is actually her doll line. You'll notice that when I drew her, I kind of thinned her out. But I actually want to keep some of that strong draw Look that she has going on. So I'm gonna go ahead and do that, and I'm gonna broaden it out. So it should come to about here, really? On both sides. And while doing that, I'm gonna go ahead and smooth this angle. So, you see, I had the curve you're gonna see. It's gonna curve it. And then down when I dropped the capacity a bit, um, a bit more here for the layers two and three. So you can really see what I'm doing. All right, that's better. All right. You go back into my current layer and down. This is where we can start to see when this curves around into the jaw. So that doesn't quite is as angular as I have made it out to be. Okay, because me a little bit more until maybe a little bit more curvy and stylized. But it's the basics that I like. All right. Gives her some of that. The next place I want to focus on her mouth. She looks a little bit more unhappy in my sketch. Then I think she does in. Ah, the actual picture. And part of that is because of her mouth. If you see, I've really sort of dropped the outside corners. And while I picked up the right side, I didn't pick up the left side. So I'm gonna fix that a little bit. And in this sketch and then for the bottom lip, I think I have about the right shape. Really? What you see here is this mod, um, shadow and then the top lip. One thing I noticed if you look, I curved the whole lip and it actually comes in and curves a little bit, so I can fix that, really has more of a line like this to it. And then her pretty strong Cupid's Bill, and she sort of curves to here and then goes down. I'm gonna check it. I think it is. This line is to a little bit too high up now for her knows. What I want to do is I'm actually going to just sort of lift everything up a bit from where it is and then for the eyes I like about what I have here. Actually, her iris has shifted a little bit too far. So I'm gonna just that on my right side. The left side's pretty good. I want to give some depth to my line to really get a sense of of ah, what's going on here? So I'm gonna follow for the most part what I already have in place and then make those adjustments. And one thing you're going to see is the top of her irises really in shadow. That's pretty typical. Um, from being underneath the island is that we really see this shadow on the iris here, here. And then I'm gonna go ahead and went in with my eraser this time. And I'm gonna give myself a little highlights so that I know where they should fall. Some six. All right. And what I want to do is she's actually got some pretty thick eyebrows. Um, So what I want to do is actually go in and, um, give them some of look of the Harry. Ah, but for the most part, keep the general shape. I'm looking back at our nose now, and I just didn't get right yet again. Um, and I think what I'm missing right now is this one is actually a little off. Ah, so I'm gonna go back in. She got a pretty deep shadow here, Um, and around. But I'm not for here. We go okay than for her ear. Um, really. Only see this little bit home? She does have some shadow right in here. Uh, you see? All right. So that helped me, uh, clean her up just a little bit. You can see the difference from before. So that was the sketch before her chin was a little bit narrow. Ah, the eyes were just completely outlined. I've given them a little bit of indication of some shadows and depth of lying. Um, a little indication of where the hair is on, um, the face on. And so now I'm going to jump in and just do a bit more cleaning up on this with the other pieces. But for the most part, I think I got the hair pretty much right right up here. You can see there's a little bit more curved to it. So there's hair that goes in here, and then you see this curve here? No, I'm gonna keep most of that down. I like that. Like this comes in this hair sort of comes from here. This hair comes from here. Bring that out. Just a touch. I'm going to keep this, as is. I think that worked there. Strengthen that neckline so I can see it. This hair is pretty dark, so even extend my shadows there. I'm gonna keep ah, lot of what I did there some more shadows in here that I think I missed. But for the most part, you think that's actually a pretty good rough in when I look at it? Um, I want to bring this a little straighter, and then I want to recognize that there is a little bit more hair out here. Okay? The other thing I didn't mock up before is you can actually see part of her shirt here, so I may just sort of mock that in, and then you can actually see her shoulders coming in right about here on this. All right, so with that, I sort of have between my three layers a complete sort of mock up, and I'm gonna go into style izing that. You see, I've already done it a bit. Um, but we're going to go in. We're going to switch up brushes, and we're going to start thinking about how we can create the stylist mock up in some of the tenants of fashion illustration. 8. Inking the face: all right, We're going to now work on creating the stylized portrait. So we've created are Rough Sketch. We've cleaned up that rough sketch, and now what we're gonna do is actually work on sort of creating the minimalist fashion style portrait. So what we're going to do right now is we're actually just going to get some of the right lines in place, and then we'll go back over them and we may take out some of the lines. We may put a mask on them to reduce some of the lines we may turn some on turns him off. You may have some full layers that you draw, and leader don't use it all because you don't think they're right. And this desire to go to sort of build things up and then break them down and build them up again is what's going to give you the best portrait. So don't worry about getting everything perfect the first time around. We can always sort of rebuild and add to it. So let's jump in and actually start getting some of our inked lines on here. If you haven't done so already, you want to make sure you have switched over from your sketching brush to your thinking brush. If you don't quite know or remember what I'm talking about. Go back to the video right at the beginning where we talk about the project and the tools and resource is on and look into the different brushes. If you're doing this by hand on paper, using pencil, you're gonna want to think about switching from your pencil over to your paper on. Depends that you're going to use to do your final inking. The place I typically start is with the eyes. I don't start face shape once I making once I have the whole thing roughed in. So I'm gonna zoom in on my reference photos. So I have it from the zoom in on my sketch so that I have it, and I am going to start making my lines. And what I'm gonna look for is where I can sort of place the minimal lines. What I want to avoid is creating an outline. I don't want this to end up looking like a coloring book, so I'm gonna purposefully leave off some lines that maybe are registering their but are so faint that they aren't needed. Don't feel the need to out like things. You want to give the illusion of something. This is why this is a minimalist portrait. So I'm gonna go ahead and start with the upper lid. You can tell she's got a little bit of makeup or mask. You're on as well is just the natural shadows that happened Means that the line gets thicker on the outside. I did a little bit of that here. I want to mimic that. Uh, I'm just going to start with the upper. I don't know if I'm gonna drop down. I do any lowers. You had time to see what it looks like. Just the upper lash line first. So I'm gonna come in here and I'm gonna increase my pressure sensitivities. I go across all right. And if I turn off my clean face, I can't really tell you I like that or not. So I'm gonna add in the iris and the thing I really noticed about the irises. She really does have this darker color around the outside. Um, but really, her whole irises dark. The first thing I'm gonna do is I'm just going to give this a dark line around the outside first, um, And you actually do see a bit of the bottom. And you do see that shadow across the top, like so and her people, and then I'm not actually going to color the whole thing in, but I m going to because it is so dark. I'm gonna give it some lines of some shitty dean as my way of adding in there. All right, I'm not gonna worry about the highlight just yet. No show you like, I'm gonna match this side, and I'm want to check out. I want the highlights in there, but I don't want to erase my work in case I want it back. So I'm actually gonna do is I'm gonna put a layer mask on. That's what this little symbol is down here on the layer working on. Just click the layer mask, and if you're in using black, it will take away from the layer. And if you're doing white, it will add back in to the cells that you already have colored. So here's what I mean. So I'm on black, as you can see. Make sure your true black Otherwise, it only takes away percentage, and I'm gonna take away some of the, um And what you're seeing is the under layer here would take away some of the thing number two the same over here. Do the highlight, right? Like that. And I'm gonna wait. I'm not gonna necessarily draw the bottom on yet. I'm going to see if I can work with that later. So I believe that for the I first, and then I'm gonna go ahead and do, um, a new layer label this one, I and I'm gonna do a new layer for the eyebrows. I basically do a new layer for every feature. And then if a feature has a lot of components. So for the hair, the lines of the hair, the changing of the hair all maybe even do a new layer for each component. Um, And so I'm gonna do the eyebrows, actually, really like the sketch of my eyebrows, and I want to keep a General Lee the same thing. So here's what I'm going to dio. So I'm gonna take my brush, as is in the shape it is now, and I'm gonna get some of these lines in that I liked so much before. And then I'm gonna increase my brush size switch back to Kyle's, and I'm gonna increase my brush size to about the what? I want a little bit bigger. There we go. And I'm gonna use the brush to fill in with just these lines sticking out over the edge. Now, I'm gonna do this backwards because I find that I'm personally better about putting more pressure on than releasing pressure smoothly. But I'll show you what I mean. So if I go backwards, I do smooth. And then I get the big no problem. If I go forwards, I find that that transition to smooth I don't do quite as well, actually wasn't as bad as it typically is. Um, but I'm just going to go in and add that in so you can actually see your this shape of the eyebrow, Not quite what I was looking for, and that's gonna give a shape, and I'm gonna play with that a bit more. Drop my brush down 35. Where Waas You know that of the edging in here? So it's a little bit looser, but I'm gonna leave that It's kind of her eyebrows. These eyebrows are actually little bit thicker than her, so I probably could have done a little brush, but I'm gonna go with it. Remember, you're now doing a stylized version, so feel free to exaggerate a little, but you don't want to move into the form of character. But it's okay to exaggerate a little bit. It is to make certain things pop women zoom out and see what I think is amount on her as well. The next thing on a jump to is the nose, and I think the nose here is sort of more distracting that I want. So I'm gonna find a way to really sort of make the nose a bit more petite in my minimalist sketch than it is currently. I want her eyes to pop. I want her mouth to pop, and I want you to know she has a nose. Um and that's how I I want to create some of my style for some people. You may want the nose to pop, in which case you can use thicker, bolder lines and draw more pieces of it the way I'm gonna make it sort of recede as I'm gonna Jews make sure I'm doing some pretty thin lines. Um, and I'm going to do just the minimal that I need to do. So I'm actually gonna drop my brush size down on a zoom in on the nose here. I'm actually going to zoom in on my sketch as well, so I can make sure I'm doing this right. Um, and here I go. OK, so I'm gonna come in on here, and I actually I'm gonna increase my brush. I change my mind cause here's why. Instead of trying to fill in the shape of the nostril, I'm just gonna let the line thicken and let it do it for me. And then I'm gonna dio a bit of a thicker line here, but just the basics of a line. And when I clean up her rough, that gives me that knows the still maybe too much. But I'm gonna go ahead and go with that notice. I'm not doing the connection point here. I'm leaving that shadow off. Um, and I really sort of Sindh out all the pieces you're sitting, So we're gonna try that and see if that works. Okay, That's the basic of the knows that I'm going to do right now. Next, I'm going to do the mouth. I'm gonna do something for the mouth that I typically like to dio, which is? I, uh, Don't always show the upper lip, find up coloring in the lip, you see the whole shape. But if I don't end up coloring the the lip, you just get the bottom lifting. You get the same idea. So I'm gonna pay a lot of attention to the line between the lifts and to just giving the idea of where the bottom lip is, and then I'm gonna shift from that, and we'll sort of leave it be I like that. All right, So what I'm gonna do now, I'm zoom out. So now I want to do the shape of the face. I really like her square jaw. I think that's a striking feature. I made the extra effort to make sure I got it in there, so I want to highlight that, and I'm actually going to use my shape line to give me some of that look, um, So I'm gonna make sure any time it dips in that I'm using a thicker line to give that hollow sort of deft in shadow, right? And you'll notice that I kind of stopped my lines. I do this a lot on the face outline. I don't make a continuous outline. Um, so I'll often at juncture points curves sort of shift out and shift back in. So I'm not going to try and connect. Here was I Continue on. I'm going to start a new line. It gives me my shadow and comes across That's pretty good. But it dropped a little bit down there and I really want Since I'm on Lee using the lines here, I really want to make sure that I get the right line in place because I'm not gonna go in and fill it, and it is actually a critical part of the drawing. So I want to make sure that it's the one that I want. Um, I know back that might have actually, that does not work that is too much per in there. So let's go in. That's actually pretty good. I like the look here. What you can see is that the dynamics in the shape the thick to thin is giving me some illusion of that curve. I've left some gaffes in my lines. Um, toe help sort of give additional dynamics of the shape, but also make it feel not quite so cartoony, Um or as much like it's a coloring book by having some of the those gaps and the lines which I actually look for when I'm creating my style's all right. And then the last piece of the face that I'm going to do before I go in and clean it up is the here. And I'm just gonna sick on the outside. Um, right there, cause it was a lot of shadow underneath. I'm not gonna wait off the other shadow of the ear. Um, and then I want to draw this part of the neck line. And now the last thing I want to do, and I'm gonna take these often Look at him. I don't know. Maybe the nose is okay. Maybe the eyes air. Okay, I'm kind of liking where it is, but I want to try to things. So I'm going to go in and add a layer above the eye, and I'm going to see what happens if I add in some bottom to the I if I like it or not, because that's something I was debating. And then I'm gonna go and I'm gonna mess with the nose. I'm actually gonna make it a little bit smaller. Take advantage of some of this option of stylization to see if I can't condense it a little bit. I may take out the nostril lines to see if just the shadows of the nostril are enough to play. So let's do a couple bit of playing around with these features to see if I get something better that I like. If not, we'll move on to the hair. OK, so I want to cut my mock ups back on. Um, and the first thing I want to do is I added, um, a layer here. This is gonna be the lower I layer, and I'm gonna come in and I'm gonna give first. I'm just going to start with this little illusion, use them back out, turn off my things. Do I like that better? I don't know. I don't think I like that. I think actually, what I need is a more distinct edge on my upper I So I'm gonna come back into this. I, um And I'm gonna I'm gonna work this outer edge a bit more. It's pretty curved right now, and I am going to squared off. I'm gonna see if that gives me more of this shape that I'm wanting. Okay. Yeah, I like that better. Um, I can try it with the lower I on. I think she'll not. Bad now will keep that layer just in case. But right now, I don't think I'm gonna use it. The next thing to do is I want to play with the knows. The first thing I wanted to try was getting rid of these. Knows lines again. I don't want to permanently erase some, so I'm gonna add a layer mask to them. I'm gonna go in, make sure I'm on Black Diamond erased this line. I don't like that. That looks a little alien, but it is highlighting for me that my nostrils are a bit off from one another. So what I'm a beacon do here is reduced that line and then switch back to my main layer. Highlight that and use it down. Ah, command D to de select. I like that. I'm actually gonna move them over. Maybe they're not quite centered. That may be actually helped. I'm gonna apply this. I don't like the old nose line. So what's gonna happen is if I just try and draw on this, you're going to see that my mask is gonna interfere a little bit with it. It's not gonna let me draw because my mask is right there. So what I'm gonna dio is I'm gonna right click on my mask, and I'm gonna apply it. So now this is what my nose is. Um, and I'm going to add in the lines, and I'm actually not going to use my sketch. I'm just going to, um, sort of I Paul it. There we go. I think that I like me fix this one. All right, so that's the basic shape I'm going to use for her face at the moment. And now we're gonna move on to the hair and illustrating the hair in the next video 9. Inking the hair: all right. Now that we have an interface using our mock up, we're gonna go into the hair. Um, I typically do the hair and at least three different parts. Um, and, uh, the three ways I do it is, I think, in some thin lines and consume thick lines, and I think in some shadows, so we typically have at least three layers, but often more than three layers. So the first thing I want to do is make sure I have a new layer and I'm gonna take and I'm gonna go ahead and start with some of the sort of thinner lines of my hair. So I'm still on Kyle's thinking thick and thin. Um, around 35 at 33. At the moment, I'm gonna give some of the hair lines that I think are most important. So that's sort of the basics of, um, the hair. And these may be too many lines. I'll be honest. If there is a place where I really used layer masks and go in and add and adjust, it is with the hair, and you'll see, cause I'm going to go in and out some really sort of thick lines whether or not end up keeping them it. You never know until the end, but I always add them in because it starts to give me a sense of shape. And so what? I'm looking from really four or my areas of shadow. Sometimes I'm drawing on top of my current life. Sometimes I'm adding a new lines. So let's see here, going and looking back and forth between my reference photo and, um, my shapes. And I think I'm gonna add in itch, a thick line there. I wanted to trail off a little bit more than that. So these thick lines, as you can see, they just give a little bit more depth in there. They also helped guide me when I do some of my shadows. Now, the next layer, I'm to start adding in, um, my shadows on the way I do. Shamans is very rough, as if I was almost just doing a very, very quick on hashing, but you could do it any way you want. One trick, though, is trying. Keep your lines and generally the same direction. It tends to look better, even if it doesn't look very quick. Um, I sort of developed its style to my hair. Um, having drawn this quite a bit, but they're definitely different ways You can go about doing this, including two insulted color. So here's how I'm gonna do it, and we're gonna try it with this layer. I'm gonna just go in and I'm going. Teoh, Huh? Right there. This is a separate layer than the thickness line you can see so I can actually go in and clean that up a bit. So that stays in that line. This is another area I'm gonna use. Thes two lines is the border. Um, and I'm gonna go in, and I'm gonna keep my line sort of bickering there and have some shadows. So because of so what I'm gonna do is I'm gonna drop my opacity down now, the lines with Gray and I can really go in with my eraser, which is kind of small at the moment. But it'll work and clean up the lines. I'm gonna knock out my sketches, weaken. Just see what my lines are doing. I don't mind that, um I'm gonna add in some even thinner lines, so I want to give a little bit more illusion of a pair and some of these wisps let me add another layer. And I wanted some whiskies in here, so I'm actually gonna look at my reference photo and you see, turned back on my rough. You see, I have some of these in place. I'm gonna use my lightest that you can take the pen down if you want. If you don't want to be worried about it, and I'm gonna get some of her little with speeds in here. I don't always Abbvie's, um but it was looking to me like this one in particular kind of needed it. All right, we're gonna leave those in, and then I'm gonna do a mask. So sometimes I do not show the top of the hair. So right now you can see all of the hair on, and sometimes I That isn't the way I go about it, I don't show the top of the head. I give the illusion that there's hair here, but I don't necessarily show it. So I'm gonna go into the hair shadow. First of all, moving a mask on. I'm gonna get myself actually a decent sized brush here, make sure I'm on black and I'm on the mask layer, and I'm gonna actually decrease some of my shadows, cause I'm gonna actually take out some of my hair. I'm going to go on the hair thick line. I'm gonna do the same thing. I'm gonna add a layer, make sure I'm on there. My mom and I get rid of these lines in here, and I'm on the hair thin line, and I'm gonna get rid of some of these lines. See, Shadow, whatever happens, I just get rid of all of these shadows. Uh, including on the new layers. You don't exist. I just give b illusion of hair all someone to go toe white now, and I'm gonna draw back in. Bit of my line. See, I want a bit of lying there. I don't know if I like that or not. Let's see what me disabled a layer mask. I kind of like that without the lines. I think I need some more shadow, actually. So I'm gonna go onto the shadow bit, actually create a new layer in case I don't like what I'm about to dio I'm to make a second shadow layer. I'm gonna take my brush back down to about normal size. Um, and I'm gonna go in, and I think I'm gonna add insult layers right in here. Um, so that there are layers so that you actually are getting a little bit of darker here. All right, some of the stock there. I'm actually gonna turn all this hair off. Someone added a new layer. I'm gonna put my, um, cleaned up on, and I'm sure you a different way to do here. It is not the way I typically do hair, but it is absolutely a way you can do here. Uh, and so what I'm gonna dio is in my new layer. I'm gonna get my brush pretty break because I'm to be mapping out some thick colors, and I'm just gonna sort of map out and rough in my, uh, here. All right, So here's all the black hair. So this is the basics of her hair. When it's just dark, put a layer mask on it, make sure you're on black. Um, I drop my brush lights down to about normal, and then I'm gonna go in, and I'm essentially going to dio. Um sorry. Did not mean to do that? The exact office it which is? I'm gonna take out essentially where I want some of the highlights to be, not the shadows. So I know I wanted some highlights and year, and I wanted some of this to come upon wisps. So this is not dissimilar from what I did before. It's just the reverse. I didn't spend much time on that. You saw me spend about three seconds on. It s so it's not necessarily the best. But if you wanted her to have all dark hair, that's another way to do it. I don't typically do mine that way. I prefer the other. So I'm gonna go back in and play with my hair now and see what I like. Um, so on the take off my sketch, I've got just the wisps. I've got the extra shadows. I've got the main shadows. The hair declines, the hair online. What happens back with hair, Finn lines and the shadows just together. It's a little less dramatic. I don't mind it. Actually, I at the Wisconsin I kind of like that, actually. And the thick lines mm. Draws a lot of attention. I mean, like it better with out pretty the wisps out wisps in Where's the extra shadows? No, I like the extra shadows. I think that may be my favorite combination now. So I've taken some of the hair shadow out, added it back in and remove some of the thick lines. You can see we disable this layer mask, actually, just temporarily, we like that better. All I'm doing is right clicking on the layer mask to enable ever disable it to see what it looks like. Me like that better. So I think that's what I'm gonna sit with for now, in terms of getting my hair and shadows in, and I'm gonna consider this my final ink sketch. 10. Adding color: all right. Now that we have are fully in sketch, I'm gonna go in and talk about adding a few little details to give it some characters and pops of color in the life before we jump in just two quick notes on color. The first is that because we are creating a minimalist portrait, you want to keep your color palette pretty limited. So really thinking about maybe the two colors three colors. Maximum four colors that you want to use in your portrait. You don't want to overwhelm the porter with lots of color or even pattern, so you want to keep your color palette very limited. The second note here is on the quality of the color. I like to use a very flat plain of color. No shadows, no textures. Very, very rarely any patterns. So think about these two things as you move forward with color. Now let's jump into actually talking about where to place and how to think about your colors within your sketch. Here are a few examples of where I might use color, so I do a lot of my illustrations with having a strong red lip. I think it's a great way to give a pop of color. Give a little bit of glamour to my look of a little bit of that really sort of fashion style. The red lips real popular it right now. So it brings me into some of those fashion trends. So I've got had and I added a new layer. You'll see that I've actually grouped my layer. So, um, I have my hair layers all together. My face layers all together. I want my color layer below all of my thinking layers. But I do actually want to turn on, um, my initial sketch. Sorry, that's down here. So the because I'm gonna be thinking the mouth. And remember, I didn't draw the couple upper, uh, lip line. So I'm gonna use my sketches, my drawing. So I'm gonna pick one of the two reds. I want to do it deeper red. I'm gonna go in, and I'm gonna go ahead and ink in my black color. All right, let's give that a go. Um, someone zoom out and I'm going. Teoh, stop my initial sketch. Not bad. I like that. So far, I think I want these are a little bit too abrupt. I want to smooth them out just a bit. And even though my sketch doesn't have them, so I'm gonna take this lying out just a bit. Here. I'm gonna give you just a bit more color right there. Okay, Back out. All right. I like that. So lips are a typical place. I might give color. If you have any clothing that you're doing, it might be a good place to give a pop of color. You'll see I drew in a shirt for her. She's actually in a tank top, but I'm just gonna use it as a shirt. Um, and also all do that as an example of color. Maybe I want her wearing I don't know what color she's wearing black in this. So I don't think I wonder in black. I do have a navy color I use. Let's try the navy. It may be too dark. I'm actually gonna drop the opacity to begin with because I know I'm gonna struggle with the Navy hitting against these black lines, and that will help me a little bit. This is a big area to color, so I'm actually gonna increase my brush size a bit. Um, I'm to go in here, and I'm just going to do a quick mock up when I get to the to the bottom to the edge. I don't always do a clean line. So you might see here that I'm giving the bottom of her hair some definition. But I'm not really worrying about the bottom being too distinct here. Not there. This we could imagine maybe is actually her shirt and not our hair, and it goes over, okay, But I'm gonna go in, and I'm actually gonna clean up some of this color, and I bring my opacity up to that blue. I don't like these open squares. Supertitles, then the blues. Okay, actually, but I wonder what would happen if I made it another color, so I'm gonna double click, um, and pull up. So if you double click not on where you can really able to off to the edge, you're going to get this layer styling palette right here. Um, window on. What I want to do is a color overlay. So what it's gonna do is it's gonna change the color and you can see the last time I did this, I had this color. And so if I'm on color overlay, you don't default to your last use color. The way you change it is make sure that the color overlay selected is like is the light grey than if you click on this, it brings up your color picker. You can actually go pick up a color from somewhere if you want. Um, or you can use the color in your, um from your presets from your swatches So blue. I don't like that blue That was too bright, like lose. Not bad. I'm really digging this green right now, actually. Really like the green This was the cover. Had little mild dark things. Kind of pretty. I'm gonna stick with the light green. So those air to pops of color, the other places I typically do color, um are any accessories that I may have drawn shoes, handbags, jewelry. You'll see that I added in the airing, she's not wearing one, but I added one in. So I'm gonna label this one as the shirt color, and I'm gonna add another layer above it, and I'm gonna have this CD hearing. I'm gonna pick a yellow to sort of emulate gold, and I'm just gonna very subtly do a nearing in there. All right, Um, I don't like that old, so I'm gonna do a color overlay, and I don't want a green, but I think that, like you are gray. Actually, I am. I'm gonna do great for now. Okay? I'm gonna put this is her earring color beyond lips, clothing, accessories. I don't tend to put colors, and I don't color hair, but you absolutely code if you wanted to. The reason I don't color hair is because it forces you to define the edge along the hairline, and I think that takes away. It's the same reason why I don't do the solid black and add out is because I don't want to fully define the agile, like the edge to kind of blend away. But that's a personal preference. You should totally feel like you can go in and do that if you so choose. Um, you can also add some color to the eyes. I really do that cause it just makes them pop a bit more like him to have a bit more of a subtlety to him than that. But you Absolutely could go in here at a layer, um, and give her a color. I, if you want. So your coloring underneath this. Now remember, you aren't gonna want it in the highlight. You want the highlight white, so you'll just come in here in a race from your layer. And technically, her pupil wouldn't be that. But we've really sort of cover looked over her people. And so you'll see a little bit of blue in there because we have the hashes over there and knocks that color down. It's not bad, but it's not my favorite. Something to go ahead and delete it, Um, and so that's the basics of color. A flat color. Don't worry about getting your magistrate unless you want to. You concur about the edges. You can color them straight off the page if you want. That works, too, Um, and then go ahead. And don't worry about doing your layer style double double clicking, pulling up and doing some color overlay to experiment with different colors. And then once you have them set, you can say, Well, maybe I just want the shirt like that. That gives are pretty simple. Look, I'm not mad at that. Actually, maybe I just want the earring. It's just grace. That's really not at anything at the moment or just the lip. Any of those air? Fine. Kind of dig in just the shirt and really gives her a sort of relaxed by with lip. Sort of dresses it up. So I think for right now I'm gonna stick with the shirt and the hearing in the next lesson , I'm actually gonna teach you a cool way to actually give your jewelry a little bit of a metallic pump to it. 11. Creating metallic jewelry and finalizing: all right now that we've added in color were pretty much almost done. The one additional extra I want to show you is how to really make drollery pop to give it a metallic look to it if you want. I've done this on a few of my drawings. I've kept the droid pretty small, A minimal, but there's no reason you could totally go for big, oversized jewelry if you want. But I do have an earring in here that I added. So we're going to try that as part of my experiment to see what might happen. I'm gonna actually turn it into a gold earring and give it some shine. So I'm gonna go ahead. And first thing is, I'm just going to zoom in on my drawing so I can really sort of see the earring. And then what I've done is I've opened up a picture of of a gold foil, so it has the gold color in, and it's got some texture in it. This is one I like because of the variants and color. It's not the yellow gold. It's more of a champagne golden that's a personal favorite of mine. So I'm gonna highlight. Not the whole thing, but an area that has sort of a mix of light and dark in it. Some to grab my tool. My selection tool. I'm a sort of highlight this area in here, and I am going Teoh Copy. Then I'm gonna go back into mine. I'm gonna add a layer above where I colored in the earring. Uh, and I'm going to paste, So command me and you can see that now if I go to my mover movement tool, it's over the earring, but its way big. It's just the same square that I copied and I wanted just to be on the hearing colors. You can actually clip it to the layer below. If you hold down the option key and you move your mouse to sort of right in between the layers, you can see that little arrow come up with the box. If I would have tipped if I tap down with that, it's actually clicked it to the hearing copy. You'll notice you can't see it yet. That's because I have the layer on So what I have to do Remember I added the gray color in here. I'm going to actually have to apply. Um, I was gonna clear the layer style from this. And now you can see for whatever reason, the layer styles. If you have those on, it doesn't allow things to clip to him. And now you say I have this gold hearing. Look, this metallic hearing look of zoom in its in there, you may not be able to see it much because of the black line that I have for the hearing. Let me do something real quick. Let me go into here. Um, and I have the clothing here. I'm gonna put a layer mask on so I don't lose it. I'm gonna make sure I'm on black, and I'm just gonna erase that line. And now you can see the full circle that I have for the earring. It just a gold. I kind of like that. It has a little bit of pop of color, but not it. Not time. Um, coming to save a layer mask and see? Okay. Think I like it without the black line on it, but I do think it needs a bit of depth to it because it does have the natural shadow in there. So here's what I'm going to do is above my gold layer Gonna add a layer in I'm gonna take my brush size down On top of my hearing I'm going Teoh put a little curve of black on top. I wanted Black are tough That's going to give it some shadow right now. Just looks like a black line, but it actually take the opacity way down. It's going to give it just a hint, uh, a shadow and might even too much opacity so that when I zoom out, I look I still have gold, but it looks a little bit more, Um, like there's a bit of a shape to it, which I like. This is about in jewelry when it's really Patin. Small is the only place I really sort of give it some depth. It's because I'm using the foil on the foil, has some natural depth to it. Sometimes it can look funny. It's just playing flat. So I had a little bit of depth and you get this one little papa veering and it can really make a very subtle piece of joy really stand out. And other than that, the only thing left to do now is you want to make sure something Iris. Forget that you sign your work so I just add a layer right above the black ground. Pick your color, pick your spot. The last thing I tend to do sometimes a zai readjust my pieces. So I'm gonna This was my hearing shadow. So I'm gonna label the last of my, um, layers here so they don't get lost. I always know That's my gold. And I'm in a group. These if I hold my shift key down like in group these and know that they're my colors. And what I've realized now is that she's a little bit shifted down on my page. So I'm going to take all of my layers together. Um, I'm gonna come here, and I'm gonna just move them as a group. Make sure you have them all selected. Uh, before you do this and then I'm just going to hit save. I'm using the radio menu that comes with my tablet. You can hit command s make sure you've saved your work. And with that you're done. You've now completed the course and you've created your final minimalist fashion illustration. Be sure to upload your final illustration along with all of your process sketches to your class project. Thank you so much for joining this class. I look forward to seeing your illustration in your class project.