Live Encore: Drawing Expressive Faces | Charly Clements | Skillshare

Live Encore: Drawing Expressive Faces

Charly Clements, Greeting Card Designer and Illustrator

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11 Lessons (59m)
    • 1. Introduction

      2:16
    • 2. Practicing Features: Eyes

      7:13
    • 3. Practicing Features: Noses

      3:39
    • 4. Practicing Features: Mouths

      6:33
    • 5. Creating Skin Tones

      6:43
    • 6. Pairing Colors

      7:40
    • 7. Drawing Figures

      4:57
    • 8. Adding Faces

      7:26
    • 9. Adding Hair & Clothes

      3:46
    • 10. Q&A

      6:35
    • 11. Final Thoughts

      1:51
183 students are watching this class

About This Class

Grow your illustration skills and confidence—while having lots of fun drawing!

Illustrator Charly Clements truly believes that drawing faces doesn’t have to be scary—but she knows it’s something a lot of people struggle with when getting started on their illustration journey. In this hour-long class—recorded using Zoom and featuring participation from the Skillshare community—Charly will walk you through three fun exercises to help you get more comfortable with drawing faces and figures. 

You’ll start by brainstorming as many variations on basic facial features as you can, quickly creating a library of eyes, noses, and mouths you can pull from when you’re feeling stuck. Then, Charly will walk you through how she creates natural-looking skin tones, and pairs them with clothing colors that really make things pop. Finally, you’ll bring everything together to create a whole page of quirky characters, practicing creating different body shapes, combining different facial features, and adding a lot of personality through hairstyles and clothing. 

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Throughout the class, Charly will encourage you to remove any pressure to create something perfect and instead enjoy being creative and playing around with your drawings. Whether you’re just starting out or are a seasoned illustrator, you’re bound to learn something from Charly’s approach! Plus, students who participated in the live session were able to ask Charly questions, so you’ll get to learn more about her journey and process. 

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While we couldn't respond to every question during the session, we'd love to hear from you—please use the class Discussion board to share your questions and feedback.

Transcripts

1. Introduction: I know you've thought drawing faces can be quite intimidating. I think a lot of the time we put so much pressure on ourselves to have a finished project, we'll have something that we have to show people, so I wanted to try put some exercises together for you guys. Just sit back, relax, and just enjoy some drawing. Hi, guys. I'm Charly, I'm a greeting card designer and a freelance illustrator from the UK. I'm currently in Thailand. I specialize in greeting cards, but also create Skillshare classes and I also have [inaudible] that I do on Instagram as well. In today's class, I wanted to walk you through three fun exercises. We're going to start with drawing some fun features and exploring some stylized characters. We will then be moving on to skin tones in exercise 2, where I will just be sharing my process on how I create my skin tones. I know that that is something that you guys struggled with a lot in my other class. In the third exercise, we're going to bring everything that we've learned in both exercises together, and we're going to create some more quirky poses, and explore creating movement and personalities. Free the shoulders. That's another thing that you guys messaged me about in my last class, that you found your characters to be quite rigid and stiff. I'm going to try and create an exercise that will loosen you up and most important, just have fun. I think getting started is always really hard. So I love the fact that we can just be forced to start drawing here together. I hope after you take this class, you gain more confidence in drawing faces. I know it's an intimidating topic, so I want you to just have fun, let go of any perfectionism that you have with your illustrations and enjoy the class. This class was recorded live and I got to interact with the audience as I was creating, working, and drawing. It was so much fun. Drawing characters doesn't have to be scary. So let's get started. 2. Practicing Features: Eyes: My name is Tiffany Chow. I work on Skillshare's Community Team and I will be the host for today's live class with Charlie Command. Hey guys. I just want to say thank you so much for joining us today. I'm so excited to have this community where I can share some of my knowledge with you guys. In today's class, I'm going to be sharing three fun exercises for you guys to just stretch your creative muscle. We're going to start with join some fun features and exploring some skylights characters. Why don't we go ahead and dive right in? Yeah. This is going to be exercise 1 and I want you guys to just start exploring different features. I've just divided by page into three parts. Eyes, nose, and mouth. I want you guys to try and fill up the page as much as possible with different side of eyes. You can follow along with how I'm drawing them. But I'd also like to maybe see you guys trying to use your imagination and just play around with different styles of eyes, nose, and mouth. Once we've created this, we can move on to exercise two. I'm just going to start by using my 6B pencil brush in procreate. This is just a really nice brush that has this nice textured feel to it. We're just going to go in and start drawing different features. With this exercise, I just love to do it to unwind. Just stretch my imagination a bit. I'm not going to look any reference photos. I just want you guys to maybe sketch out maybe 10-15 different eyes. Then if you're really struggling either follow along with me or there maybe go on Pinterest and have a look at some cartoon eyes. I'm just going to explore different shapes. I'm just starts here, two different characters. with these eyes, I like to have this cat-like eye in some. Then I'll bring this arch up like this and then I can create the iris. when I joined eyes as well, I could explore with during a circle now. Then having iris to the side just to indicate the direction of the characters face. I'm not going to spend too much time on this because there are a few things I want to show you guys today, but I just want you guys to get in the habit of listening up. Getting rid of that perfectionism and just for the sake of drawing rather than wind up outcome, if this person's really tireds, I could give them some really trippy bags under the eyes straight away, that person is tired. Then if I'm having this down eye, you can see this sinister look just from a few different marks. it's amazing just from these little tweaks that you can convey in your eyes and you can completely change like the emotion of your character. I'm just going to have a play around with different shapes. if I've done most simple shape, I could go in with having the eyes like this and then play around with having some of the eyebrows going up like that and having that suspicious slip for your character. When you're creating your characters, there's so many ways that you could create a stylized character, just some change features. You can try with really big eyes and having this eyelids come over like this. I just want you guys to spend about maybe ten minutes trying this out. And I could have some eye like this where you have the docked in the middle and having these lines to emphasize the eyes a bit more. We can go as detailed or simplistic as she went with this. Just add some little lines and just play around with all of the different shapes. I'm going to go in with these dotted lines here and having some eyes and also when I'm creating my characters I normally add some wrinkles or eye bound with the eyebrows, say the thickness of the eyebrows as well. Then you can have sleeping eyes like this. Really simple again. Or you can have eyes that curve in an arch to illustrate someone who's laughing or he's really happy. If you have eyes going down like this with the eyelids drooping down. Just by changing the slope of the eye to downwards and this way. It shows that your characters really worried or scared. Just place small tweaks, can make such a difference. There is a question from the audience on how to do puppy dog eye. Puppy dog eyes. Wow. I'm not actually used to doing animals that much. maybe we can go for a cute characters. I space, having those puppy dog eyes that always look like they want something and you can maybe go for more, something like this where the eyelids or looking quite Q. You could have the eyes or like having folds of skin coming over the eyes to show you that skin fold. But I think puppy dog eyes look cute. I think as long as you keep the eyes quite cute and have that reflection as well. Going off to just give some really soapy look to a dog character. But hopefully that answers your question. Yeah, that's awesome. That's is pretty amazing how you could do that in just a few strokes. I'm amazed at myself too. You should hopefully have a few eyes to play around with in exercise 3. I want now to move onto the next. If you are struggling or feel like you need some reference photos to help route, that's not problem. Hopefully you've come up with some of your own ideas as well. 3. Practicing Features: Noses: Next, we're going to move on to caps and noses. For the nose as well the basic thing about stylized characters is you don't have to have realistic features, so you have so much room for exploration and creating such a big variety of different styles. I normally go for the really simple triangle just because I really like that simple style, but you can also go for a squiggly line like this or you could join your nose with the eyebrow and have flick, go around like that, which would join the eyebrow. This is really good for having your character's right angle or if you're working with profile as well. I sometimes also will just do a line for my character and so that's really going the more simple like where you have just like a dark shadow underneath the nose. I also like to explore when you're doing a profile, a nose that is quiet has been broken. I just like to explore different ways of drawing the nose, so it's not always from a head-on shot because sometimes if you are working with commissions or your client is asking for a character on site it's really important to try and explore different angles when you join your characters as well. You can just have a really large nose really long and I'm just making this up as I go along. I don't have any reference to work from, but hopefully you guys are following along. I'm coming up with some of your own creations. I could have a nose like this and have the nostrils and then you can fill in the nostrils like that. Another thing I really like to do with my nose is, and also my hands as well, is to just give the tip just a little bit of a shadow or like a warm glow and this can be really good when you create an account to this outside and the nose might be a little bit cold and that would just give that emphasis on that redness at the tip of the nose as well. You can also do a diamond shape and have a geometric nose, really low and as you can see, I think I should get through the noses and you start exploring all the ones that are obvious to you. That's when sometimes you can start to struggle a bit and think, I don't know what I'm doing anymore. But sometimes when you push through that, you can come up with some really creative ideas that you might not use in your work today. But you can always go back and just remember those shapes and that might be perfect, for example a job that you working on. I just try and explore as much as possible. Let's see if I can come up with another one. I could just have the obvious just down and round as well. So hopefully you have some noses to work with. 4. Practicing Features: Mouths: I'm just going to go onto the mouth now and if you have any questions, please feel free to ask. [inaudible]. Do you feel like it's important when you're sort of developing or creating a signature style, just always use sort of the same types of these features, noses, eyes, mouth, etc? Yeah, that's a really good question and I think it's important at the beginning, especially to explore all of the styles. When I first started, I went through so many different styles before I found the style of the I liked. It's really important to just explore as much as possible and you don't have to share all of these things as well. That's the amazing thing about these exercises is, they can just be for you. The pressure is off to stay consistent because there has been lots of times where I've done exercises, where I found something that I really love and I'll incorporate that slowly and softly into my illustration, without it being an obvious shift in style. If you look at my old Instagram, I have so many different styles at the beginning and that was all part of the creative journey for me. It was to find what worked for me, what I enjoyed working with and I wouldn't have been able to get to the style I'm at now if I just kind of stuck to one thing. I think, experiment as much as possible and don't feel the pressure to share it with the time on Instagram if you don't feel comfortable with that, but just make sure that you're exploring in your free time. With mouths, I'm just going to explore some lips for a while just to show that the top lip is normally smaller than the bottom lip. Again, you can play around with having open mouth, maybe having teeth, or if you want to go more simple, you don't have to add any teeth in. I sometimes like to add this cartoon tongue and this open mouth as well, which is quite nice as well. You can just go for the simple smiley face, with a tiny little dimple on the side and just have a little mark here to emphasize where that mark is between the lip and the chin. Yeah, I normally just go for the very simple lips, but like I said, if you are working with a client that does want something with bit more expression, it is important to kind of practice these gestures, just in case they want a little bit more motion in your character as well. The big smiley face and then sometimes you can just hint the lips as well, without going fully on the line. If you're working with, say again, a profile and you want a mouth on the side, you can have snip come down and then you can have this bump chin, I quite like to do sometimes with my characters. There's a request from the audience to see a gap tooth smile. A gap tooth smile? Yeah. Okay. Of course, so I'll try and do this stretched out 'V' and then I'll close it off with this line and try the line here. Then I quite like to create all the teeth and then remove part of the teeth. We can see that, I'll just zoom in for you guys. I'll fill this in dark and then to have this just thick line, that would just emphasize the gap teeth a bit. Then you can have some lighter lines for the teeth here, showing where the teeth start and carry on. But then this kind of showing that they have gap teeth. You can go as detailed as you'd like with that, but hopefully, that helps a little bit and calmness but. Hopefully that illustrates the point for you guys. Then because I think we are definitely more prone to drawing female curvatures, I think I see that a lot in my students and I think because there's probably a lot more visual interests, in terms of creating lips and having makeup and obviously hairstyles and lot more, there's a lot more variety in that. If you all creating male lips, just really try and hint lips without putting too much emphasis on it and normally the brown line will be and that's what it's called. You can also just try and create more of a male lip there as well, so it's not always looking [inaudible] right there, and wearing lipstick will have really plump lips. I'll just try one more mouth and maybe I could do one that's really wide and showing the kind of tongue there. Hopefully everyone's following along so far. I hope you're just enjoying yourself because I hear that's, well, I really wanted to go today, it's just the kind of kickback and just have some drawing with you guys. Hopefully, if you have a page full of different styled features, if you are finishing off that, I'll just give you few a few more minutes. Once you have finished this page, I just want you guys to click on the "Spanner" here. Click on "Share" and just save it as a JPEG and we'll come back to that in exercise three. I'm just going to "Save Image" and not worry about that too much. That is the end of exercise one. 5. Creating Skin Tones: Now that we're warmed up, I'm going to show you how to create skin tones that are realistic. I'm just going to hide this layer now and just move on to skin tones now. So in this exercise, I want you guys to just put any color down, but have this color on different layers. We're going to change each spot to fit a color, skin time. We're going to go from light all the way down to a dark shade. I'm just going to show you quickly how to create your own palette if you're new to procreate. If you go over to the pallet here and then click on this X here, and create a new palette. I'm just going to name this skin tones and make sure that this is set to default. As you can see here, we have our new palette that we can start to build up now. I'm just going to clear that up for you guys. This is where we pick the hair, so the color. Then this in the middle is where we pick the saturation and also have control of the brightness. I normally work in classic because it gives me a lot more control over what color I'm picking. Normally with the skin tones, I try to create my skin tones between the red and orange. Hopefully you guys can see that. I think there's a little bit of a glare from my light. I try to pick my skin tones from this area here. If I go to red, then it will become too pink and not that realistic. If I go to the yellow, I'll have the same problems. I normally try and really limit myself to this orange-red area and sometimes with the brown, I'll push it to a bit of a yellow. If you can try and keep it inside of this area, it will just give you a little bit more control. With the skin tone color, I normally try and pick a color all the way up here. The reason why I say this is, if you come down with your brightness, you'll start to see a really muddy gray color. I'm just going to show you guys now what I made. This becomes really dull and muddy, and this is something that I think a lot of people struggle with, is with the skin tones is having this washed out, muddy dull color. It's because you're not keeping the brightness up when you're picking your light tones. I normally work within this area here and I'll come down to about here. I'm just going to show you now how I'm going to recolor these. I'm going to pick my selection here. I'm going to go over to the want here and press recolor. With this little x here, I'm just going to drag it over to the layer I want to recolor. Then just click up here where I have these colors. I can now see a comparison between this color and that color. I can start to work on creating a darker shade of this color. Like I said, I'm working within this area here, keeping the brightness up, I'm going up slightly with the saturation to create more of a dark and a more of a bright tone. I'm quite happy with that, but I can also really slightly push it over to create a more pinky tone or a slightly warmer yellow tone. But like I said, really do limit yourself to how much you change here. If I want the person to look a little bit more sunburn or sun [inaudible] I can just add a little bit more red to this. Once I'm happy with this being a little bit darker, I'll go over to the other, I just put that on there and I can just recolor that way. I'll just repeat this process. I'm just going to go slightly darker. I want it to be maybe a little bit more pink in color. Obviously if I go too saturated, this becomes a really harsh on the eyes and not realistic and it's quite orange as well. I want to make sure I'm keeping saturation down enough, but it still looks realistic. Hopefully you guys are following along with this. Now for the bottom ones, I'm going to go even darker. I want to obviously go darker, but if I move this over to a saturation, the saturation will go the orange and we don't want an orange color, we want more of dark tanned dark brown now. This is where the brightness can come in handy. If you go down, you can start to find all of your browns within this area. Again, going to saturate it becomes really harsh on the eyes. You don't want to go to desaturated where it becomes really dull and not enough contrast. I like to try and stay within this area here and just play around with the different times. As you practice with skin colors, you will get better and you'll grow your confidence with picking colors and it will become quite intuitive. But I would just recommend you play around and see what works for you guys. This seems like a natural progression from this color here. It's a little darker. I can try to just put the saturation a little bit to create contrast with the background. Then I'm just going to do the same, this one. I'm going to come down with the brightness and have a different skin tone there. Again, if I want to play around with adding maybe a cooler yellow or some warm for the red, I can push it up just a little bit and I'm just going to put that down. Then for the last one I repeat again. Hopefully, you should have six skin tones start vary in warmth and obviously, ethnicity as well. 6. Pairing Colors: Next we're going to pick some colors that pair well with these skin tones. It's really important to create contrast when you're adding your character to a background. Like today, we are only using white background just to make it easier for us but we'll be adding some color with the clothes, so you don't want your clothes to get lost against your skin tone. Getting the skin tone right, it's one thing but also getting the color to pair with it is different. I'll just go to my color pallets now. I'm just going to go down to some colors that I picked earlier. I'm just going to show you some of the colors that I chose. When you're working with light, you want to create colors that are darker with more saturation. If you can see on the classic, we have some mid tone here. If we go too bright, I'll just show you, that would not contrast very well with the skin tone. You want to have a color that's just ever so slightly darker with the blue, just to be a bit softer on the eyes. We're just going to see how this color contrasts with these pale skin tones. I just want you guys to just play around with any colors that you guys like. Maybe it's pinks, reds, reds go really well with skin colors, so just play around with some colors that you have already saved in your palettes or you can try and mimic the colors that I'm using. I'm just going along to see how these colors are contrasting together. I just want to make sure that the purple is popping against that. Let me just add one more. I just put that right there. Again, that's popping quite nicely. I found a trick to put your canvas in gray-scale. Create a layer on top of everything you've already created and pick a black to fill your canvas. Then what I'll do is I'll click on the end here, go down to saturation and this will put your screen in gray-scale. This is a great way to see if your colors are contrasting enough. As you can see, you can tell that these colors are contrasting. Sometimes it can be really difficult to see where when you have all these different colors going on. It's really important that you put your illustrations in gray scale just to see if there are any paint points that you need to change afterwards. I'm just going to remove that layer and carry on with the dark tones and I'm just going to pick some lighter colors now to contrast with these, nice dark tones. I have this yellow here and again, this pops really nicely. I just want you guys to pair all your colors together for exercise three and then we have this blue here that looks really nice and pink as well, which will contrasts nicely. Another thing to think about when you're creating your colors is make sure that there's enough contrast, not only with the skin tone, with the white background as well, so the colors will pop. Once you've created all of your colors and you're happy with the combinations, with your skin tone here, I want you to just hold and start to copy these palettes into your palette here. This would just be a really fast way for you to work in exercise three when we start doing everything together. I'm just going to put the red there. There is one other question. In the classic color mode, when we choose a color to go with skin tone, are we looking for color that is opposite the bottom-line of brightness? Are you talking about the saturation? When you're picking the colors, it's really up to you because as you can see here, there isn't many votes when it comes to what colors work well, I think it's just a matter of experimenting. You just want to make sure that you're picking bright colors for the dark and darker colors for the lighter skin colors. But obviously you can see that the blue works just as nicely with this as it does with this. It's just a matter of experimenting and seeing what works. But obviously, you don't want to pick a pink that is very close to peach. So try and pick colors that contrast a lot. So greens, reds and blues contrasts really nicely with these tones here, whereas you wouldn't really work with like an orange or red with these darker tones just because there's not enough difference in the color. Hopefully that helps you guys. Yes. Thank you for that. There is one other question around colors too. How do you make sure the colors you choose are consistent with each other? This student is saying sometimes they end up picking colors that are passed dull or sometimes they're too jewel toned, all in one drawing. Do you have tricks or tips for keeping it all feeling consistent? Yes. I normally try limit myself to three to four colors and I do have a color class that has fun exercises to explore different ways of finding those color palettes. I think with color, it's one of those things that I could bore you with color theory but if you don't have anything tangible, particle to work on, it can just feel quite lost and the theory can just not feel relevant to your work. I have lots of fun exercises for you to explore and try and find and set color palettes and then I try and keep that consistent on my Instagram feed as well. I have a set colors that I use and again with my color class as well, you start to build up these libraries of colors that you can refer back to. If you're feeling a color isn't working in a piece, you can always look back at your color palettes and see if you can replace it with a color that you've already used. Try to keep that consistency with your colors throughout your work and that would start to become your signature style in a way because people will know you for certain colors that you're using in your work as well but obviously if you're just starting out, my advice is just to explore as much as possible. The possibilities to colors is endless and it can become quite daunting. I just want you guys to just build up your palettes slowly and try and work with a limited color palette. I can't stress that enough. Hopefully you guys have tried to pair your skin tones with some colors and we're now moving on to exercise three, where we're going to bring everything in together. 7. Drawing Figures: Now we're going to bring it all together and create some characters. To start, we're going to create some basic body shapes. I'm just going to hide all of these so I can create a new canvas and so now that I have hold of my skin tones saved, it's going to be so much easier for this exercise. Now I want you to do a little bit more drawing again, this time we're not just going to be drawing faces. We are going to be exploring, creating emotion through the way someone is holding their shoulders. I don't think you've realized but a lot of people's emotion and personality will come through in the way they're holding their in the shoulders, so if you're anything like me right now, I'm hunched and anxious. I have my shoulders very high and close to my ears or if you have shoulders that are down and relaxed, it says so much about your character, and as you start to get used to creating more movement with your characters, you'll have them tilting their head, having their neck moved a little bit, and you're not just having rigid, stiff portrait that we can tend to lean towards and because we're comfortable. Hopefully this exercise will get those creative juices flowing a little bit. I'm just going to start with my pale skin color first. We have quite a thick brush and I think the studio pen brush, if you can see that, it's studio pen in procreate that comes under, I think the inking in the brush library. I would just put this up quite a lot, so you have this really thick pen that you can just make quite large marks with. I'm just going to really quickly draw a circle, not really think too much of it and draw a line, and then have the shoulders like this. I'm just going to fill that in. I'm not going to think too much about it. I'm just going to create some fun, quirky shapes. Now that I've done this head quite round, I'm going to do the opposite. I'm going to have a ET shaped face, maybe a thicker neck, then we can have the shoulders up because they're quite anxious and a bit nervous. I want you guys to just fill your page with these kinds of shapes and just have fun with it. I'm going to have a long face now, a neck coming out from the side and then have this person looking quite hunched, and when you create the shapes of the heads, just think about different ways that you can present them. Now that I have these long, wide and round heads I might try and go in with a really symmetrical bound head, quite a thin neck, quite a long neck as well, why not, and have the body coming down like this, and try and fill that in just to save time. I'm just going to walk you through my different skin tones. I just want to make sure we're leaving in a little bit of a gap between each character just so we can fill in their hair and accessories without interfering with the other characters, and have a really tiny head and then a really wide body. This is a great way as well to start looking through your style when you're drawing you characters. I know if you notice that there's so many different styles out there and some people are known for drawing really small heads and out of proportion bodies, and it can't work. It's definitely worth paying attention to with these different ways of drawing characters. With this one, I'm just going to have quite a big face and have the shoulders coming up, and maybe I'll just add one more there, having quite a big head and small body. The neck isn't even existing really, so this is just a fun way. These are just like blobs on your page, but we're going to start bringing them to life with layers. 8. Adding Faces: Now we're going to create some faces with the features we created in exercise one. So I did say it is safe to exercise your features that we're now going to start using on our characters. So I'm just going to show you a little trick now, just to bring that JPEG in. At the bottom of the screen are done. If you can see my silhouetted hands, the conflict that comes up here and see that. And then we're going to pull that up. And this will create a pop-up. And hopefully if you've been using your photos, if you haven't used it, just go back to the main your homepage. I'm just click on gallery and then that will, then what's must be added into this, but we don't click on it, you just drag it. And then this should pop up. And you then have the illustration that I created in the first exercise. I'm just going to drag that over so it's not dominating my canvas. And I can now use these, these eyes as reference for my characters. So maybe I'll go for this kind of cat-like ie. One photo and alongside the vocal that blowups or didn't mention, try and don't do what I did on the crate. You'll always create your drawings on new layers. I just made a rookie mistake. That insight. Okay, I'll do that again. Have this cut iss. And then I can go in with this funny, nice. And, and yet with this really simple mouth. And I could just add on to this as well. So I did my first face and then I'm just gonna go over to my other characters. And I'm just going to keep, keep playing around with it. So maybe this is going to be ETS cousin. And I could have a little button nose and the mouth pretty wide. I print like this. And then fill that end. We kind of have these really big accentuated is. And I'm just creating these fun Coubertin's that week and start building on. So I'm going to do this as a side enough. So this kind of shape makes me think is somewhere, maybe he's lazy, he's just really tired. It's had a hard day at work. So you can kind of think about the cartel have in these kind of droopy eyes or maybe these heavy eyelets on this really big, nice. And then you can have what I call a half-mile, say. And then this is how you can kind of stop playing around with different ways of having your to look in a different direction. So again, either to this one now and I'm still referring back to my shape. But if you do think of something that would have to use this as reference, and this is just to help you guys out and just to kind of speed up your workflow, bet. I could have this cartel quite angry. Have a nice, it's connecting. And just some really simple mouth. Have these kind of come down. We'll maybe have really small. And then this cart to some really simple eyes. Just to keep this really simple. And then have the lips. The iOS. Not all of them have to be these crazy characters if you want to, if you feel like exploring stall that you've been wanting today, that's fine. I'm just really kind of pushing the style of these carriages just to kind of show you guys. Maybe I could have a suspicious character. And this is all in the kind of eyeball C have one eyebrow over and then the Aibo going up. And let's try this. Well, maybe we could go for simple. And I forgot to mention if you want, you can just kind of create a shadow underneath the chin as well, which will change up the cartel. You can kind of do that afterwards if you want. This, we'll just kinda give thought to your Carter in just like one, quit or strike. And this way you can kind of control or say the chin. So some people have called a printed kitchens. This bond could have my favorite, the batch. This one doesn't really have much, much Him. So again, it's just really rough. It doesn't matter. It's just about having fun with it. And I think that's kind of what I want you to get out of this class today is just for you to let loose a bear and just not why about imperfect? Say one to the last one. Now Baby, This one is looking up. And sometimes he can be inspired by the way the current has been drawn. So for me, I actually originally doable, I would do a front-facing be Bagchi. Now looking at it, it looks like this passed in, is kind of looking up. But the stars say you could have an amazement. And that's what I love about these exercises is you just never know when they're gonna guide. And I've done this a few times now just to kinda practice for you guys. And I got so addicted to it that it's just really, really helped me just kind of become a bit loose. So with my sketches and not to worry too much and say, This is how it looks now. And we're now going to go on to adding some cool hairstyles. 9. Adding Hair & Clothes: Finally, we can finish these characters off with some really cool hairstyles, and fashionable clothes. I'm going to stay on the black. I'm just going to change up my brush over to the studio pen, so I have that kind of thick pen again. I'm just going to pull it out slightly just so I have a little bit more control. I'm just going to do some wacky hairstyles. This one could look quite good with hair coming down. When you're creating the parting, remember that the hair parting always comes from a little bit further down the forehead. We're not starting the hairline at the top of the head, but just a little bit further down. We're just going to fill that in. I'm done with the hair. Onto the fun part, which is the clothes. Hopefully if you followed along, you have your colors, head, hair, so it's just going to make it a lot easier. We're going to start with this blue and we're just going to have fun with adding some clothing. We want to try and mix up as much as possible. I'm going to go with a turtle neck for her. I'm just going again, sorry. I'll just put a new layer on top. I need to remember that myself. I'll just create this turtle neck and just draw over the top. It's just that simple. Just to add some clothing onto her. Then I'm just going to go in with my purple and see what kind of clothing I can add to her. I want her arms to be out. I'm going to put her in a vest top, that's going to come down like this. Then we're going to have her arms wide like that. We'll finish off like that. As you can see, this already just gives a lesion of her being quite scared. You can see so much emotion in her shoulders. Sorry, it's bouncing around a little bit, hopefully that will stop. I'm just going to move over to the next skin tone. I'm just going to repeat the process. This guy looks like he would maybe be wearing a dressing gown. It doesn't have to be too detailed because I think there's a lot of emphasis in his face already. Really quickly now. Cause I know we've run out of time. Off the shoulders with her. I want you to just play around with having different ways of your character's person. Then we can take away and have this arm come around like this as well. You can see that she's very hunched. Amazing. They're looking great. 10. Q&A: Now we're going to open up to questions from students in the audience. Maybe if you could just talk a little bit about your own creative journey, how you got started, was there a time when you were maybe trying to get into a creative career while still having another full-time job, and what was that like? Yes. I was actually juggling three or four part-time jobs when I lived in Berlin, just after uni. I remember just hustling really hard at my creative career. I was trying to build up my client base as much as possible, while I had these part-time jobs. I think I get that question a lot where people think that you have to be drawing 24-7 in order to make it. I think if you have passion and drive and you keep showing up to things like this, like today, then that's actually more than I did when I first started out. I think it's amazing. The commitment that I've seen from you guys. I just want you to know that you don't have to be drawing every day in order to make it. You just have to have the passion and drive, and also just keep working on it every day. You just need to see yourself improving on a monthly basis. Even if you create an illustration that you're not fully happy with, don't let that stop you because we all have to start somewhere and it just means that you're not good enough yet. If you can try and work on your illustration and see very small improvements, you will see results a lot faster than you think. Keep showing up and doing the work, and feel the passion, I think which you guys clearly have. Awesome. Thank you so much for that. Do you ever use other programs and Procreate to maybe fine tune your pieces or your work before finishing? When I originally started traveling actually. Just after Berlin, I went traveling with just my iPad and I was working on my creative career full-time just from an iPad. I was working on client works, commissions and also doing a lot of greeting cards for different companies. That didn't require anything other than my iPad, which was amazing. Over time obviously I've been creating Skillshare courses for you guys and I have needed to have a laptop in order to do that, but if you just want to do freelance and work on commissions, then Procreate is the perfect tool to get started with your creative career. So I do use [inaudible] now but I suggest you use Procreate. That's awesome, thank you. There's been a couple of questions around facial expressions or features specific to nationality or gender, like you talked a little bit about, or angles like three-quarter angles, not just in profile or head-on. Would you recommend studying reference photos to inform those- Yes. okay. Great. Yes, definitely. The reason why I have done it from no reference today, because I want people to start using their imagination a bit, but when you do get into characters, that's really good to look at reference photos as much as possible. When you start to find your style, you work out how to incorporate your style in the way that you draw with those angles, because with stylized illustrations, it's a little bit trickier than when you're doing realistic illustrations. So it is really about exploring and the different ways that you can incorporate that stylized fill, but also showing different angles as well, and because we work a lot with flat illustrations, that can be quite tricky at times. Hopefully in exercise 3, it might push you to explore that a little bit more. Wonderful. Thank you so much. This person is also a teacher and considering doing a Skillshare class, would you recommend teaching on Skillshare? Then also from Katie in our audience today, how did you become more comfortable on camera and hosting things like this? The first question I'll answer, if you are thinking about teaching, I would say go for it. It's been such an amazing experience over the last year and a half I've been on Skillshare. I've gained so much confidence as well in my ability to teach and to want to inspire the community from Skillshare, it's been amazing, and with so many talented teachers that inspire you as well. I remember last year when I first started my Instagram journey, I think I was on 10,000, maybe 13,000 followers and that was after four years of taking Instagram seriously. When I posted my classes to Skillshare, I saw a massive increase and I'm now at nearly 100,000 followers and not so many a year and a half later. It opened so many doors, not just as a teacher, but as a creative and as someone who can lead this community as well. So I would say go for it. If you're already a teacher, that is a real positive. I never had experience with teaching, it was something that I've had to pick up along the way. Like anything, if you're nervous about being in front of a camera there are ways around it. I did at the beginning. I tried to be on camera at the beginning and I struggled a lot. I didn't want that to stop me from sharing my knowledge and my skills with other people, so I decided to just do a screen share and over time I've built up my confidence with being on camera now and I can progress that way, but don't let being awkward or uncomfortable in front of the camera stop you from teaching. 11. Final Thoughts: Thank you so much for joining me today. Thank you Tiff and the team over Skillshare for asking me to do this, this is amazing. I just wanted to say that if you are ever feeling stuck or uninspired or just feel like you're not getting anywhere, just pull out your canvas and just do some fun exercises without any pressure to share it with anyone else. This has been a lifesaver for me. There's been so many times where I've had creative block or just felt intimidated by the blank screen. Doing something always leads to something amazing. Just sharpen up doing the work and you don't have to always share it. Hopefully this class takes away that intimidation that you might get from drawing faces. It doesn't have to be scary. It can be fun. Hope there are immediate function guys today. Here's monthly drawing prompt, fun with faces. If you use hashtag fun with faces, you can find lots of different drawing prompts to help you out with your portraits. I also have a really amazing community over on Facebook. If you need feedback on anything, then be sure to join that as well. I have links to everything over on my Instagram in case you want to find that. Once you've completed the project, I'd love to see what you guys have done. Be sure to place it in the project Galloway, and I can give any feedback or ask any questions that you guys have. Thanks so much for tuning in to my class. If you want to find more of my work, feel free to take some more of my classes here on Skillshare, I have classes on color, and on stylized portraits as well. If you want to go more in-depth after this class. Bye.