Portrait Sketching + Drawing with ENERGY + CREATIVITY! (w/Optional Real Time Videos) | Chelsie Wilde | Skillshare

Portrait Sketching + Drawing with ENERGY + CREATIVITY! (w/Optional Real Time Videos)

Chelsie Wilde, Wilde Garden Artist & Graphic Designer

Portrait Sketching + Drawing with ENERGY + CREATIVITY! (w/Optional Real Time Videos)

Chelsie Wilde, Wilde Garden Artist & Graphic Designer

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6 Lessons (2h 12m)
    • 1. Intro

      2:01
    • 2. Materials

      3:01
    • 3. Mapping the Face

      20:15
    • 4. Drawing-Time Lapse

      29:41
    • 5. (Optional) Mapping the Face-Real Time

      29:42
    • 6. (Optional) Drawing-Real Time

      47:07
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About This Class

Jump into this class with me and learn to draw portraits with tons of your own unique energy and creativity! You can take this practice into all mediums and forms of your art! 

  • Perfect for all levels of artists!
  • Learn a quick method to map proportions.
  • Learn to add your own unique touches and energy.
  • Tap into your creativity!
  • The simple and easy to understand knowledge in this class will get you well on your way to sketching and drawing incredible portraits. After practicing with me you will be able to construct a face from memory or using a reference. You will also be able to successfully draw a full portrait that is full of your energy and your unique creativity.
  • In this class, you will learn to move effortlessly, freely, and naturally across the portrait without overthinking your next marks. We are going to have fun AND learn to draw well!
  • We will also talk through some mental blocks and knock them down - knowledge you can use in all of your creative endeavors : )
  • Where this mapping method came from: This is my personal step by step process. After spending some time digging around, I found several pieces of information that “clicked”. I have taken those nuggets and compiled them into a structure that is now a foundation in every single portrait I draw and paint! I am so excited to be sharing this with you. Stick around and we will learn, grow, and have some fun together!
  • If you are new to drawing, I will suggest using the same materials I do to understand the effects I am getting! Once you work through this, you can consider yourself “experienced” and…
    • If you are experienced, you can use any kind of pencil/medium and paper you prefer. Play around with different mediums/materials, and use what you enjoy. This will help you develop your own personal style. 
  • Remember, the only way to truly learn is to put your pencil to paper and get practicing! Let go of expectations and open yourself to LEARN. Make mistakes, keep going, and I promise you will make progress!
  • Play and pause as you need, and copy me step by step if you need to! (This is a method I put into practice myself ;) )
  • Let’s go!

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Meet Your Teacher

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Chelsie Wilde

Wilde Garden Artist & Graphic Designer

Teacher

Chelsie began drawing as a child and the craving to create has never left her…

She has grown into a self taught oil painter, watercolor painter, and illustrator, currently based in Indiana. Between her time as a screen printer she is experimenting with her favorite mediums, live painting, teaching on Skillshare, and displaying her artwork in downtown galleries!

Nature and curiosity inspires and drives her artwork. Currently, she is caught up exploring and mastering skulls, flowers, and portraits - as individual pieces and as a work of art together. She is moving from working very tight and detailed to breaking her pieces apart with a more textured and visual brush stroke approach.

Check out her work in Instagram at wildegarden.art!

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Transcripts

1. Intro: There's so much creative energy ready to just burst out of you. And this class is going to catapult that for you. Hi, I am so happy that you're here today. I'm really excited to teach you this method of drawing portion of that has been working effortlessly for me. My name is Chelsea and I am the artist and creator of wild garden art. By the end of this, you're going to have a really creative and awesome energetic piece that looks like you did it. And the more that you practice them, wait, you're gonna find your unique voice in your artwork. In this class, the first thing that I'm going to show you is how to map out all of the proportions of the face. I have developed this map for myself and are referred to it every single time I draw a portrait and every single time I paint a portrait. And created this map from myself, from practicing several different ways of finding proportions of the face and placing features. So I took everything that works and I put it together for myself and MF that did work. After working through this method with me, you will find yourself very eager to get started on another portrait and see what you're capable of. I can not wait to see all of your projects, so be sure to snap a picture and posted below so that I can see a and so that other students that might be interested in this class can see it as well. 2. Materials: Okay, we are going to get started with an overview of the materials that I will be using today. And these are my personal preference. However, I do suggest that you use a similar paper type to what I'm using. Especially if you aren't quite versed in paper, you won't get the same effect on some different types of papers. So what I am using is a watercolour paper. I chose that because I really prefer the tooth that watercolor paper has, which allows for a lot of texture grabs a lot of graphite, and it allows for a little bit of finger blending later on. The pencil that I'm using is an artisan. It's a B which is a little bit more on the soft side versus a hard pencil which is labeled h. And I also may use a mechanical pencil at some point to get into some tighter areas. I just always keep went around. And for racers, I have a kneaded eraser. If you don't have one of these, I highly suggest getting one. As you can see, I'm molding it and shaping it so it allows you to pick up some graphite from bigger areas, as well as kneaded into a very thin point to get some small areas and you just press it onto the paper and it will pick up your graphite. And other eraser that I prefer is a plastic eraser. It just does really clean work and can help you get rid of some big areas pretty quickly. And it does not leave any residue behind on the paper. And last but not least for erasers, is the Paper. Mate, tough stuff. Erasers stick, which works similar to a mechanical pencil, where you press the end and it will come out a little bit further. This eraser removes the graphite in a very clean manner and it also allows you to be able to get into some smaller areas. Our reference for today came from Pinterest, which is a really great place to find references if you need them. I chose this one because she has pretty standard and proportionate features, which is a really great way to practice. I also chose this reference for the high contrast and lighting. And at any point that you find a reference and the lighting is not ideal for finding shadows. You can download the photo and do some editing where you change the contrast and the brightness or make it black and white or both. Now that we have our materials and our reference which you can download below, we are going to start mapping the face, which is a lot of fun. So let's get started. 3. Mapping the Face: Today I'm going to be teaching you how to find the proportions on the face with a map that I have created for myself. And I refer to every single time I draw a portrait or painted portrait. After practicing several different methods of how to find proportions on the face, I got rid of everything that wasn't working for me and kept everything that was and just built my own map. We will begin by dividing our paper into halves both ways so that we can find the center. Once we find the center, we can place a circle just above the center, which will represent the top of that. Take your time creating this circle and feel free to get rid of any extra marks. Divide your circle in half and mark the center with an extra. Remind yourself later that that is the center of the circle. To find the I line, we are going to divide the bottom half of the circle in half. Draw the ball of the nose below the base of the circle. Eyebrows will rest between the airline and the center of the circle. To find the bottom of the chin. And we are going to use our pencil to measure from the center of the circle to the base circle. Take that measurement from the base of the circle down and make a tick mark. We need to place a circle or an oval to represent the chin space. So at this point we need to look at our reference to see if she has a long chain or a short chain. In this case, she has a longer chin so we can place a circle. The center of the mouth sits halfway between the nose and the bottom of the chin. So just make a line across and we can adjust that later if we need to. To find your hairline, use your pencil again, some measure from the bottom of the eyebrows to the base of the circle. And then use that measurement from the center of the circle up and make another tick month for your hairline. Now look at your reference and lightly sketch the volume of the hair and the shape of the hair. Don't worry about being perfect here, sketchy marks will allow for a lot of energy to show through your piece, and it will be your unique energy. Use your reference to begin finding the shape of the entire face. The width of the circle will represent the width of the face. Use everything that we have mapped already, like the align, the mouse line and the chin as a reference to find where to start cutting the shapes in. So start with straight lines and then we can shape them and make them curvy if needed later. The jaw line usually sits around the same area as the center of the mouse lines. So you can use the line that we drew across for the mouth as a reference of where your jaw line working. Many artists will divide the width of the face and two fifths to find the width of the eyes and the width between the eyes. I tend to make them a little bit bigger, keeping the width of the eyes and the width between the eyes of the same and the width between the outside of the eyes and the edge of the face a little bit smaller. I find that using the 1 fifth rule makes for very small. I's as the artists, that is our free will to break the rules for the sake of visual pleasure. We can typically find the width of the nose by drawing a line from the inner eye down, you will want to look at your reference to see where the width of the nose actually sits. In this case, her nose is a tad bit whiter and it sits just on the outside of the inner corners of her eyes. So you can draw a line down from the inner corner of her eyes and go just outside of that for the width of her notes. The edges of the mouth usually line up with the center of the eyes. Again, you will want to look at your reference to see what's actually going on here. We can use the center of the eyes as a starting point and move the corners of the mouth outward or inward if we need to. To shape the volume of the ellipse, we are going to look at the reference and make circles and ovals to represent the thickness similar to the way we did with the chin. This may not make much sense right away, but do it anyway. The more portraits you draw, the more memory you will have to reference and decide whether your reference has full lips or thin lips. In this case, she has relatively full lips. So for the bottom, we can put a thick long oval or just a circle to hold that space for us. And at the top we can put two circles next to each other, which will help us find that curve and the top of the live. As we begin drawing the lips, we do not need to use solid lines to represent them. Look closely at the shapes of light and shadows and you'll notice that the edge of the lip disappears in areas. We want to represent that and our drawing later to get a realistic effect. The edge of the lips will not necessarily reached the tick marks we made, which represent the corner of the mouth. Look again at the reference to see the light and shadows in this area. As we get into the nose, we will just be drawing shapes for the lightest and darkest areas. Usually, I draw circles like we do for the lips and the chin to represent the outer parts of the nodes. In this case, I didn't die. And you will see that that caused some problems for me later. So it is something I do suggest doing. For now. I just continue drawing shapes and marking where the nozzles are. Nothing needs to be perfect here. We are just practicing. No one ever needs to see this. And we are doing this lightly so that we can adjust as we go if we need to. I don't recommend spending a lot of time trying to perfect anything. Although we're not aiming to draw photorealistic portrait here, we are going for realism with space for your unique artistic energy. So we have to allow space for that creativity to live. Perfecting along the way, just boxes creativity in any piece of art work that you're doing. So I advise leaving things loosened light and leave any mistake marks. If you need to get rid of that later, you can. We are going to keep going and just move around the face naturally. Moving around the piece naturally keeps the energy alive in the peace rather than sitting and working on one feature at a time and perfecting it, it will all be relative and work together as needed. If we sit back and let the piece guide what's next for us? We can just continue mapping until there's nothing left to map. And then we can sit back and look at the portrait and decide if all of the features are in place and make sense. Once we do that, then we can start getting into darker areas and building a lot of debt. If you are giving this ago and you find that you are really struggling, I 100% suggests taking the long row and hopping over to the real-time videos and just copying step-by-step. What I do, pause and play is you need to, this takes time, but it is a way to practice for yourself first. And this will allow you to make marks and see what happens when you do. You will see the drawing come alive before your eyes by your hand. Once you realize you can do this, come back to the time lapse or even try with your own reference on your own. Just start simple. There's no need to make things complicated. Starting simple will allow you to build your confidence and get more creative for the next one. As we work on the eyes, we're going to work on these one at a time. We don't need to make a mark on the left eye and then make that same Mark on the right I. If you look closely at your reference, you will see that the eyes are not exactly the same. When I begin drawing the shape for the eyes, I like to keep the bottom of it around the line that we drew. That way. If we get the shape of the eyes down and realize that they're sitting a little bit too low. We can just erase those and start over from their versus moving everything that we've already drawn, like the nose, the mouth, and the chin down. It's a lot more simple to just move the eyebrows up. If we need to move the hair line up, if we need to, then getting rid of all of the work that we've already done. When working on the eyes, I like to zoom in on my reference a little bit so that I can see the shapes that are going on a little bit better and I'm not assuming anything. Again, we don't need to get to attach to drawing lines here or even drawing lines that we're going to keep or that represent the entire shape of the eye. The more that you practice drawing eyes, the better you will understand the different shapes of the ice. And you begin drawing the iris. Look at your reference to see how it sits. The entire circle of the reference does not sit within the open eye. If they do, then their eyes are open really wide in this case for either very relaxed so we can't even see the top of her iris. I will usually go ahead and hatch lightly inside the iris just to give myself some depth to work with later. And this is some work space. As we begin working on the next, I, drawing a line across gives me another reference to go off of. In, in this case, I find that her right eye is more open than the left eye. It's important not to keep that bottom line of the eye. If you zoom in and you look at her right eye, just below the iris to the right, you will see where the light hits the thickness of her flesh. We want to represent that to get the depth of the eyes and avoid having flat eyes. After making your second iris, you wanna sit back and make sure that the eyes aren't crooked if they're not supposed to be. And make sure that the eye is, seem to be looking in the same direction. On stress, if you need to completely scrap an area and start over, no one needs to know that you did and truly failing is all a part of the process and learning what not to do. So if something is not working out, just get rid of it and start again, and just always do your best to finish a piece. I am getting rid of some of our map lines around here because it's just getting a little bit too hectic for me. We can find the outside of the neck by using the outside corners of her eyes and drawing down. We can lightly sketch those for now, but they will get covered up later with her hair. We don't need to focus on any details of the jacket. Her face is the most important part of the string. If you want to draw details of the jacket later, that's up to you. I typically don't. I just like to imply the clothing that is or is not there. The bottom of the ears rest near the base of the nose and the top of the ear is attached to the head at the airline, which we do not happen to need here. So we can just lately sketch the bottom of the ear. Again, we don't need to put too much detail and time into the ear. It's not a main focus here. Her face is and just implying that the IRR is there will make a more realistic and give it the depth. As we start working more on the hair, just look at the hair as big chunks. We don't need to draw every individual hair. That will just take forever. But what I do is just lightly hatch darker areas to begin mapping the hair similar to how we're going to begin mapping more shadows on the face. You can work with straight lines first and curved later. Getting back to the face a little bit, we can just draw some big shapes that represent the darkest shadows and the lightest areas on the face. I like to put an oval right at the base of the eyebrow to represent that highlight because there are a lot of shadows that go on in there. And drawing that oval just reminds me to stay out of that space so I don't have to do any erasing later. She says yes. 4. Drawing-Time Lapse: Now we have all of our features set on our face to a point where we can go back and look and make sure that everything makes sense and is proportionate. We can compare it to our Reference, although it does not need to be exact. As I began working with the lips, I am just defining some of the shadows that I find a little bit more as we keep going, we will slowly be layering light sketching on top of light sketching, and this will make area's darker as we go. If at any point you find yourself working on an area for a long period of time and you are concern that you may be overdoing it and move on and come back later. We wanna give our mind and eyes a break so that we don't get caught up on the same thing over and over. A break allows us to see what we could not see before. We made some more marks. So looking at those marks and depth with fresh eyes will allow us to see deeper into our reference and what will be next to complete the area. If we need to do anything at all, you may be done. We only wanna make the marks that we need. For example, we will not need to shade the entire face. The viewer's mind will fill in that space for itself. As you begin working on the nose, make sure that you zoom in to your reference so that you can find all the little changes in light and shadows and the plane shifts. Don't assume anything. And the nose schools are definitely not solid black. So you'll want to make sure that you record the changes in light that happen in the nose hole area so that they don't look flat. Thank you. Keeping a really high contrast in the iris can give a really pretty an interesting effect. This is definitely a less, is more situation. Be very aware that the whites of the eyes will not be a solid white. They are round, so there's also depth on the whites of the eyes that you need to record and your drawing. Okay. Testing. Testing. Testing. Testing. It is okay as you're going to decide to make some areas a little bit darker than it may seem it like it is in the reference. I tend to find myself doing that on the edges of the face, especially between the eyes, the outside of the eyes and the edge of the face. Remember you are the artist and you're in charge of the drawing. So okay. You can keep the depth really soft and the neck. If you look at the reference, you can see that it is, and you can just use your finger and smudge and a little bit. You will find creases on some next and you can add those or leave them out if you choose, if they are deep, sometimes I will add a few. Here. I am just using a clean sheet to protect what I've already done. When you do this, never skewed the paper around, picking it up and move it to avoid moving the graphite. Erasing is okay as needed, but I do not recommend making it a go-to as this will teach you how to work with what you already have and be artistic and creative. But hey, sometimes something has to go and that's okay too. I'm just scribbling off to the side because I just sharpen my console and the tip is extremely sharp. I don't want it to dig into the paper and make groups into the papers. As I began working on the left, I notice that I'm not even referencing the other ISI begin 100% encourage you to do the same and see what happens. We don't need to work on the eyes together because they are not the same. As you go. You can sit back and look and see what's going on if it's too far gone and they look really weird, try to fix it. And if you can't fix it, get rid of one of them and started her. It's not a big deal. The outer corner of her eye is hidden in shadows and is very undefined. This is uncomfortable, but recording that will give you the desired depth. As new artists, we want to draw the line because we know it's there. We know that shape is there, but we don't always need to do that. Right? Okay. I don't always draw the eyelashes as they tend to disappear in the shadows if they aren't great, big eyelashes covered in mascara. And even if we do draw the eyelashes, we never need to do every single one. Plenty of artists do and their drawings look really great. I personally do not enjoy sitting there stressing out every single eyelash. So once I have my eyes pretty filled in with the depth, then I will do the eyelashes that I find important. You can sketch the eyelash lightly and then if you like it, you can darken it. When you do the bottom eyelashes, make sure that they are on the outside of the thickness of the flesh that we talked about earlier. You don't want to put them against the white of the eye. Putting them against the white of the eye makes it look like they're coming out of the white of the eye. But there's actually some skin there that we need to represent and that will give your eye more depth. Ok. As we get into the eyebrows, we definitely do not need to draw every single hair. I scribble into the darkest areas and the direction of the hairs. Only do what you need to do. And they didn't know need to be super detailed. This will give us depth to build on or to take away from. The hair is a really fun area to make marks and be energetic and just have fun. As you keep working, remember to find shapes and shadows and do not draw the nose or lives or what you think the shapes are rather hatch or shade the areas of the phases they are. Give yourself the chance to do this and see what happens and what you can learn from it. There are no shortcuts here. You just have to do the work to learn, you have to practice and you have to mess it up. Once you are happy with something and you found a sort of sweet spot, leave it alone and only come back to it if you need to. Leaving things on finished his more than okay and creates mystery and interest. It also allows your personal marks and your personal energy to show through. Don't beat yourself up at any point throughout your work. It is unnecessary and unhelpful. Let go of expectations, especially of replicating something you've seen. Just do the work and let it live. At the end of the day, you don't want to be replicating another artist. Replicating an artist as a great way to practice techniques and skills. But the best way to find yourself as an artist and define your uniqueness is to just do your own thing. By doing it. Just keep going and keep creating work. And you will begin to see the unique features of your work. You can't define what those features are if you haven't done anything yet. So in order to really see what makes you unique as an artist, you just have to keep making art. So as we go through oh, when you're old and bring some form of civic and loving, whether that's been designed specifically for the country as a solvent. To put it to them as close to the sorrows of your changing things. And when your brain is nothing but responding to such and such and such and such and such. And this is just one. Yes. Okay. Okay. Okay. If you can see teeth in your reference, do not get tripped up on drawing them perfectly or representing them. We don't want to bring focus to the teeth just like we don't want to bring focus to the ear or the jacket, implying that there, there will be enough for your viewers to understand that your portrait is not toothless. Now I'm just lightly hatching in some areas to give the face a little bit more shape and dabs. Again, it is important to leave the brightest areas as the paper for the contrast of light. Also, if you need to go ahead and make some areas darker than the reference, I usually find myself doing this at the end and standing way back from the piece and seeing where her face seems flat and then just lightly adding some hatch marks as I need to. And it may require some back and forth with the eraser. And that's OK. Just do what you need to do here. The artist and you are in charge of this piece. If this whole thing is not working out for you, I can gradually you so much for getting this far and continuing to work on your piece of this much. I will be completely honest. This is my second shot at this today. My first attempt looked like I've never even done this before. And that happens. Sometimes we just need a nice walk and a deep breath to sit back down, be present, and to take our time with the work. No. 5. (Optional) Mapping the Face-Real Time: Hello. Okay. Okay. Okay. Yeah. The land between the member states? Yes. Yes. Okay. Hello. Right? So why is that? Yes. This is a system. Right? Okay. You can't approach. Okay. This is a very small space. Yeah. Okay. Okay. Okay. See. Right? Okay. Yes. Okay. And C is false. Oh, on the top. Okay. Just work at it. And it just jumps. Okay. Test, test, test, test, test. Test. Test. Test. Test case. This concludes our session. Okay. Yeah. Yes. Okay. Why? Okay. 6. (Optional) Drawing-Real Time: Ok. And the equipped with that. Okay. Ok. We take all the time. So test, test, test, test, test, test because we're assuming that it's worse. And there's some small spectral type. Right? Okay. Great. Okay. Ok. Okay. Yeah. Okay. And again, it doesn't matter. Okay. Yeah. Ok. Okay. Okay. Right. Right. Okay. We need to do like when you're old and bring a great deal of saving and loading. But as far as you can train yourself to love care either had not. Looked at the surface level, circuits are changing things. In this case, when your opponent grab another 25 years. So in this case. Just a second. Okay. Okay. So yeah. And this one. So okay. The key to the, to the, to the 3.3.2, the key to the z, to the positive 33 percentage. Because he knows that the query should be limited to the beautiful videos. They didn't produce that triggers. We will call off velocity. We have more problems. Those are timeless. So suppose there was no room for not fall, cause and effect. If this is true. This is the master status code which corresponds to the three loops. See to change too. 22. To do this. See. Okay. Okay. Come over here, whatever. Come on. Okay. Yeah. Okay. Okay. Yes. Yeah. Thank you. Right. Okay.