Graphite Drawing: Creating a Compelling Illustration by use of a Prompt | Faith Newman | Skillshare

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Graphite Drawing: Creating a Compelling Illustration by use of a Prompt

teacher avatar Faith Newman, faithfulimagination

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

Watch this class and thousands more

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

Lessons in This Class

9 Lessons (18m)
    • 1. Introduction

    • 2. Materials

    • 3. Creating a List

    • 4. Reference

    • 5. Thumbnails

    • 6. Rough Draft

    • 7. Lightbox Transfer

    • 8. Illustration

    • 9. Project

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About This Class

In this class you will be learning how jump start your imagination by using a simple prompt to create a finished illustration. I will go through each step into the creative process in detail, from jotting down ideas to the rough draft and finally the finished drawing. By the end of the course you will understand how to take a simple idea and create a unique and compelling illustration. This class is geared towards students who have a concept of the drawing basics, but it is not necessary to start learning. See you in class!

Meet Your Teacher

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Faith Newman



Hello! My names Faith! I'm a graphite illustrated from Washington. I sell at comic and anime conventions as a profession. I love learning and I think I'll really love teaching. You will see unique classes on how to better yourself as an artist and how to jump start your career. I will post as often as I can so feel free to follow me to keep up to date with my content! I can't wait to see you in my class!!! Let's learn together.

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1. Introduction: Hi, My name is faith and welcome to my drawing class, where I could go through a step by step process with you and how to create an illustration by using a problem. I love using problems with my art because it helps me stay focused on an idea, but also allows me to be creative. Sometimes they use other people's prompts while I'm doing a monthly art challenge like mur me and sometimes I come up with my own. The prompt will be using Today is herbal remedies. We will learn how to jump start our brains with ideas, find reference, greet thumbnails, map out a rough draft and finally render the illustration. By the end of the class, you'll have a wonderful original illustration of your own. I will lay out my processes clearly as I can, but feel free to ask questions along the way. If you get stuck, see you in class. 2. Materials: for this class, you're going to want to have some cheap paper. I'm just using some holds. Draft more paper for my college days, but you can just as easily use printer paper. You also want to have some nice, higher quality paper. I like to use 300 Siri's strapped More bristle boards. Smooth service paper nine by 12. I know that's such a mouthful for pencils. I like to use two kinds of mechanical pencils. I like to use a 0.7 with my HP lead and point to also with HB lead. You're also gonna want a plain white eraser and an elastic one. You also need a phone, tablet or computer to look up reference as well. You also might want to pick up a cheap light box from Amazon if you don't have one, but you don't need it. These are the materials I like to use. You don't have to use these exact ones. Pick whatever brands you like or have on hand. This shouldn't be expensive. 3. Creating a List: creating a list can help jump start our brains to give us some good ideas for our drawing. That way, you don't get stuck with artists block. Everyone hates that. I like to start my list by first thinking about the prompt and what kind of genre I want to use. I decided to go with the famous theme and create a cute very. Now that I have my theme, I want to think about things that make sense with the prompt. This could be design elements, objects, fashion, etcetera. Be sure to think outside the box, though. When writing your list, you want to be thinking about how you're going to search for reference. I used keywords to make my list, so be easier later. Start your project and create your list. Write down everything you can think of, but don't overthink it too much. 4. Reference: references key and creating a believable illustration. It can help with anatomy poses, fashion characters and lots more. Most young artists view using references, being cheating, but that's far from true. The best way that I have found with using reference is to use a lot of it, my favorite place to find references. Pinterest. I create a new board for almost every piece, and I fill it with the least 25 to 50 images. Use your list from before to start your search, but you may find things along the way that were originally on your list. We still want to add them. This totally happened to me. You may notice that my board leans towards an African thing. Since I loved the idea, I ran with it. You can use photos and artwork for reference, but be sure to use multiple so you aren't copping. Zones idea. When looking at poses, you can always use a torso position for one image and legs for another. That way, you could make it your own pretty much every professional uses reference, so don't be shy about it. Post your top five images in your project. Make sure you have plenty of variety 5. Thumbnails: Ah, thumbnail is a small image that represents the idea you want for your illustration. It's the best way to map out your ideas early on, so you can see all your options before you commit to one thing. You want to use cheap paper, though, since you won't be keeping it. Check out the Pinterest board you made earlier. That has all your lovely images. Keep those up while you're creating your thumbnail. Try out different poses to see what you like. Be sure to use flowing lines to get some good energy. You want that later. Don't forget to create good silhouette and composition. To make it appealing, Feel free to add in a couple design elements and clothing to see what you like. I didn't do this online since they were so small. It would be hard to see, but it doesn't mean you can't try to do at least five thumbnails and upload your favorite in your project. 6. Rough Draft: Creating the rough draft is probably the most challenging part of the whole illustration process, but it can also be very rewarding. You want to start with your favorite thumbnail and recreate it, but this time to scale of what you want the finished illustration to look like. Still use cheap paper, though, since this won't be your finished drawing. Part of the reason I like having my rough draft and have finished illustration separate is so that I can experiment and make mistakes along the way. I love being able to change an arm position here and then switch of a facial feature there without feeling worried that my pencil marks air going to ruin my finished piece. It allows me to de stress and just have fun. But with this freedom comes responsibility. Why? I say creating a rough draft is so hard, it's because you have so much to think about, and without the pressure of it being perfect the first time weighing you down, it's important to give it your all and not fudge it. There are a lot of factors to consider shape, language, gesture, composition, anatomy, lighting and silhouette. Now don't let this get you down. It sounds like a lot, but the more you practice your fundamentals, the easier it will get. Don't worry. You don't have to be an expert in this. Steve. Make a good rough draft. Just stick with your reference and you'll be just fine in the future. I will probably touch up on some of the fundamentals, but that's for another class. You may have noticed that while I'm drawing this, I'll complete a section and then I'll slightly erase all of it and then later, more pencil. I love working in stages like this because it helps me to not stress about everything at once, but instead breaking it down into manageable parts. Do you want to get the flow before you break in your shapes and you can't add close before you have some basic anatomy and you can't create detail until you have all of those things I just mentioned? Try working in stages to see if it helps you process all the information you need to make it a little more easy. Remember toe work light and use quick lines to get good energy into those shapes. Strong shapes equals a strong drawing at least that's my opinion. Don't worry about getting too detailed. It would be a waste of time to do all that fancy rendering when you'll just have to do it again later. It's also just one more thing for you to think about, and that doesn't help. Make sure your basic ideas air nice and loud so you won't miss them when you render it later. For example, I gave my very big curly hair. That's a big detail I don't want to miss in my illustration, but I didn't render her hair at all. In my rough. It's literally just a couple of squiggly outlines. Really think about your prompt and what you were trying to say with your drawing. Make sure those big ideas are present. But if there is a detail, you're afraid you'll miss. Ready Quick. No, on your rough draft. I do this often to help me not forget the important things. When you're done, upload your finished rough draft in your project. I hope you have fun if you give this part of the drawing the time and thought it means it will show in your finished illustration. 7. Lightbox Transfer: Now that a rough draft is finished, it's time to transfer it over onto some higher quality paper. The best way to do this is with a light box. If you don't have one, you can always pick up a cheap one on Amazon or just use a window. Be sure to draw really lightly and don't rush it. Every once in a while I'll turn off the light box to check my progress. You don't have to add every detail, just the main parts. Don't forget to keep those nicely blocked out shapes we created in the sketch. These are the backbone of your drawing, and you don't want to lose them. Upload your transferred image to your project no onto my favorite part, rendering the illustration. 8. Illustration: welcome to rendering. Now that you've completed the hardest part of the illustration process now under the longest part, there is still a lot to think about and work with when rendering a drawing. But you got a lot of time to do it all. I want to talk about four really important things in this lesson. Lighting values, Grady, INTs and textures. But before we get into all of that, I want to talk really quickly about my materials. I know, I know. Don't we already go over this? Yes, we did. But I only told you what materials I use now why I use them. The tool I use most is my 0.7 mechanical pencils. You can honestly complete a drawing with just this pencil. But I love pairing it with my point too. This little guy creates such fine details that I could never get with my 0.7. But you have to learn when and when not to use it. If I use my point to all the time, my drugs would look really stiff in jagged. I only switch over when I feel like I need to get a certain level of detail or want things to be a little sharper. Be careful, though. Since lettuce so small it will break easily. It also might scratch the paper. I've also occasionally gotten a lead stuck in my skin by accidentally, not my favorite. Another thing you'll notice occasionally is you'll see this random piece of paper covering parts. My drawing. This helps me not to smear the graph I all over the place, ruining everything in its path. I will also wash my hands occasionally or race the graph I off the side of my hand if it gets too messy. Okay, let's get back to the important stuff. Lighting. Allow me to illuminate the subject for you. Before you start with any fancy rendering. You have to pick a light source. And no, you can't just say, well, does the sky? No, you have to pick a direction, and then you have to determine what kind of light source it iss. The light source can be this son slash moon or man made light, but both kinds of light can act very uniquely. Direct sun will act differently than overhead clouds, and a ceiling light will act differently than a flashlight. You can always look up reference or go find out for yourself to see how different light effects objects. I picked a sunny sky with all my light source to the right hand side. I always drawn Arrow to indicate the light source, so I don't forget. While I'm working, you would hate to have finished your drawing and realized you had multiple inconsistent light sources. Now let's talk about the value of values. See what I did there? Never mind. It's not important anyway. Values. I looked up the art definition just to make things a little easier. I found this on drawing source dot com. Value simply means how light or dark something is. A drawing is said to be valued drawing when it is black and white, when it has no color black and white and the many shades of gray in between are called values. Since most of my drawings or graphite, I've had to work really hard to keep my value strong. What that means is making bold statements of light and darks. My rule of thumb is to bump of something dark up against something light and vice versa. Good example of this is my fairies close versus her skin tone. I wanted her to have really dark skin, so I had to give her light clothes. You won't be able to see this quite yet, but near the end of the video, you'll see what I mean. Creating strong values will give your drawing structure to help it not look like one big blob of lukewarm values. No one wants that. So don't be afraid to lighten things up or darkened things down. You might be thinking that being so bold seems really risky. Lighten up. It doesn't have to be. One thing you can do is the lowly. Build your values. Think of it this toy. When you boil water, you start with cold or lukewarm water, and then it slowly heats through. Still, it's smoking hot. You can't go from freezing cold to boiling hot in no time at all, you'll make your drawing go into shock. By pressing too hard on the paper, you will destroy the tooth of the paper. That's what gives the paper its texture. Once you press too hard, you can't go back. That's why I like to work my values up slowly, one layer at a time This doesn't destroy the paper or my hand. Now that we have a handle on our values, let's move on. Ingredients greedy in zehr Great for adding interest to your values. I create ingredients by slowly making circles with my pencil. I create the darkest part by layering and pressing down a little harder. You can create some really nice, soft, radiant this way. You could also use ingredients to indicate shadow. Try adding ingredient to one thing in your drawn to see how you like it on detection. Er's textures are a great later add variety to your piece. I just recently started experimenting with textures, but I have found it to be a lot of fun. When you have successfully created a texture, you enhance your drawing further into reality or release. That's what it feels like. You could have a very stylized ill, but if you add a believable texture, you could make the audience feel like they could just reach out and touch it. The three textures you want to notice with my piece is her hair, clothes and the bowl. Each one has a very distinct texture that is different than the rest of the drawing. It adds a little more believability. Notice, though, that I didn't draw every hair on her head. They're just clumps of curls. I also didn't draw every groove in the bull, and her shirt doesn't show. Every wrinkle imply textures are usually more powerful than incredibly detailed textures. They make the drawing more believable but doesn't distract from the main idea. Just like when writing a paper, you don't want to go down money trails and distract from your main point. It's the same for drawing. If you don't need it, don't add it. Everything in your drawing should have a purpose. If you aren't sure if you should add something, ask yourself. What does it do for the peace? If you find yourself not knowing, leave it out. Try to add a couple unique textures in your illustration. Be sure to use that reference. Speaking of reference, you can always go back and find more when you need it. Don't feel limited to what you already have. I almost always have to go back and find something else. After I've started my drawing, feel free to change your mind as well. It's okay if you like a different idea better and want to run with it. It's your drawing. After all, let's take a break from all this technical talk and let's talk about the importance of taking breaks. You want to take breaks from drawing fairly often to avoid muscle pain. It's common for artists to struggle with physical pain because of their craft. Learn to take plenty of breaks. You want to go on a walk, do some stretches or just veg out in front of the TV. But taking breaks is not only good for the body but also the mind. Sometimes you'll be drawing, and you just can't solve a certain problem. You draw it again and again and again, and it's still not right. Take a break and move on to another part of your drawing. You'll most likely be able to come back later and fix the problem once you've let your brain rest. Now that have touched on all these important things about drawing, I want to talk to you about just a couple more things. You should know the reason I'm mainly teaching this class. I love our challenge months. Lots of online artists whole defends every year where you draw a different prompt every day for the same topic. This month was very February, so that's why I picked a ferry. This year, I came up with my own prompt list. I decided to not draw one every day, but instead drawing one a week so I could really put my everything into each one. The other challenge I like to participate in is Mur Me, which is when you draw Mermaid every day. I do one a week for this one as well, but my favorite challenge month is in October. There are a few challenges for this month, but my favorite is Draw Tober, some awesome artist's name Ga Key and Varner came up with in 2018. This is the only art challenge that I draw a new piece every day. I would encourage you to get involved in a challenge month. You will learn a lot by drawing every day before I go. I have a question for you. What kind of class would you like to see for me in the future? I would like to create some classes that go more in depth in some of the things I lightly touched on here. What would those things be? My goal is to create class every 2 to 3 months. And on that No, I did. You do feel free to message me. If you get stuck or need help or have any questions, I look forward to seeing your finished illustration. 9. Project: we learned how to design an illustration by using our prompt herbal remedies Poster. Finished illustration in your project. Tell me what you learned and how you will apply this to future problems. What parts are you really proud of? And what things would you like to improve upon next time? I'm excited to see what you created. I hope you learned a lot from this class and will join me for future classes. Have an awesome day and happy drawing.