Watercolor Portrait (with pre sketched linework file download ) | Nitika Alé | Skillshare

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Watercolor Portrait (with pre sketched linework file download )

teacher avatar Nitika Alé, Artist

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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

10 Lessons (38m)
    • 1. Watercolor portrait Intro

    • 2. Materials Required

    • 3. Sketch

    • 4. First layer

    • 5. Adding more saturation

    • 6. First layer for Hair

    • 7. Base coloring eyebrow & eyes

    • 8. Defining features

    • 9. Adding more contrast

    • 10. Final details & background

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About This Class

In this Class i have tried to tell how i approach my paintings in the most simple & easy way. Though i love switching around various styles and techniques with watercolor portraits but this is the 'first' basic level  of how i actually started off painting portraits. 

The main goal of this class is to eliminate fear of painting portraits with watercolor and level up your confidence with you trying more portraits applying the techniques given in this class .

Meet Your Teacher

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Nitika Alé



Hi there. Good to see you here in my class section. My name is Nitika Alé. I am from Dehradun, a small beautiful town in northern India. Talking of my background, i am a self taught artist and love art and photography. I love working with almost all mediums like oil, pastels, watercolor, acrylics and gouache.

You can find out more about my art - www.nitikaale.com

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1. Watercolor portrait Intro: Hi, guys. This is not the guy again eso I finally managed to put on in this class. I will take you through all the steps and techniques to achieve a beautiful watercolor portrait. So even if you are a big No, you can definitely try out this class and build up your confidence with portrait. It's as adjust to beforehand. Practice. Few sketches in the line work with the reference pictures. I have a touchdown glass resource section along with the reference pictures. I have dashed line work sketch for the portrait. You may trace it out or printed in the lowest quality center and just over it with pencils so the lines are into harsh. The main feature of this class is that it is totally a real time video so that you can pay into long except for the Lineburg part. But I have explained the tips long for the sketch as well. So I have tried and explained everything every step in the tutorial in this class. But if you still have any questions regarding this class, you can write it down the feet back section, and I am happy to answer them all. So let's be together 2. Materials Required: for this painting, I have taken to small soft bristle brushes on one natural hair brush and two large wash brushes. Also, you can use anything close to these, even two different sides. Pressures will do the pencil and razor and to clear jars off water. Now, for the colors I have taken burnt sienna, yellow joker or win gold deeps college while it warm sepia indigo blue on greenish yellow. For the background, I'll be painting over my sketchbook that I have made out off arches people, which is gold breast. You can also use any other cold pressed people for this. 3. Sketch: though I have attached the pre sketched line work for this portrait, but you can follow this part off the class if you want to make your own sketch. I am attaching the reference Big I got from a cooperate free images website that I'll be using for this class. You may take your time to sketch the basic outline. First, I am starting here with untold shape and then dividing it with lines as such, to maintain a proper symmetry. I wish I knew this technique while I was just beginning to learn how to sketch portraits. A quick dip after you have finished the sketch, step back and analyze, if any, off the futures are bit off from the given symmetry, and this always works for me as I can easily point out the mistakes on then corrected. 4. First layer: So with the first layer, I have mixed two colors. That is, uh, yellow color and 1,000,000 orange as it is just the first layer. I don't want the pigments to be really, really harsh. And, uh, toe get this effect. I have actually added more water to lighten the intensity off these pigments. I am swiftly and softly moving the brush, avoiding the eyeball area because I will lead a little later with another color, and I want to leave it. Wait for now, I'm taking ah a little bit off wide color to suggest the shadow areas. 5. Adding more saturation : So now on with the second layer, I am mixing those leftover colors that were wild and yellow car deep. Scott it I am not very saturated, but the second they're. My main motive is to suggest more off those shadow areas and the crease under the I did so I am picking up a few off that color with a clean brush, so to avoid harsh edges. Sometimes when I'm adapting a stylized portrait, I might skip this step. But here we are trying to achieve a more softer and smoother portrait. You can notice here again that I am cleaning off the edges to avoid the harsh lines that the colors may form after drying out. Here I am. I have watered down deep Scarlett color, which will be the first layer for the lips. I'm also leaving up few white areas so that it's intended to look like a little bit off glossy lips. Here I am lifting off a little bit off that color because I feel it's a bit too saturated for now. For the first layer, at least 6. First layer for Hair: Now I'm taking a little bit off burnt sienna and again, as you have seen, I have watered down the pigment. This is just for the first year of the hair. I have taken warm C p A over hell. Andi will be painting that on the shadowed areas off the air. Further, I'll be even taking darker colors like black or indigo that would be mixed with this warm sea Pia to darken the color more. 7. Base coloring eyebrow & eyes: now for the favorite part off the portrait that ISS the area that eyebrows and eyes. I have taken a little bit off warm sea Pia and burnt Sienna, now lifting off for a bit off that color in between the eyebrows. So if you're afraid to just mess the eyebrow, but you can make shots strokes like this now taking the same color, I will darken the crease line on the I slash area. Now I'm taking a little bit off burnt sienna for the artists off the ice. Also to let you know for a more detailed study off articular eyes. I have a separate class for painting eyes with water colors. Okay, I am mixing a little bit off yellow, green and deep Scarlett, watering down again and darkening the shadow areas off the face. - Now , taking more off the deep Scarlett in proportion to yell okra, I'll be darkening the right side of the face where I can see more shadow also. Then I will be feathering off the edges because I don't want a harshly mine. Now for some blush on the face, I have taken a little bit off Queen Red mixed with the leftover deep scarlet and yellow ochre mixture again, Do not forget to feather out the edges. Why did so it? Now we do the same for the opposite side of cheek. Paint on and feather out the edges again. - Now a little bit off shadow on her chin. By now, I'm basically just leering on for the darker areas off the face. Like I really have to check and notice the shadow areas on Iran. But just to let you know, just do not get too excited and put on a think pigment. Ah, very intense pigment color on the portrait because it will just give a very weird effect. So the trick is to just layer it on with light washes off color. Now moving on to the neck area again, just leering on and removing any excess big meant with the help off a tissue paper 8. Defining features: in this spot will be defining the features. Here I am defining the lips with morals that deeps candid cholera. - Now again for the iris area, I'm darkening the mix off burnt sienna and deep Scarlett with a teeny weeny bit off black color. Also not forgetting to leave that little bit off white area in the people to show the reflection of the light. - So I am darkening the eyelids area again. This is the reason I emphasize more on leering down skin area with light washes off color so I can there and build up the tone. As for my liking, according to the image as opposed to if I had already painted the skin with a totally dark a layer, it would have been almost impossible for me to show the color value difference. Now painting on some non exaggerated eyelashes. Same for the eyebrows. Very light strokes. Now I'll be leering on the lips with deep Scarlett color. I'm again putting down very shots tropes, just to be sure about the shape. I don't want the whole pigment to run out off the the borders off the lips. Here I am, pulling the pigment out with a clean brush 9. Adding more contrast: in this part, I will be darkening the more contrasted areas off the hair with warm sepia or burn see and are mixed with indigo blue. Now with a very watered down mixture of color off while it I'll be suggesting the texture off the top. If you don't have violet color, you can mix equal ratios off magenta or a shade of magenta with blue collar. 10. Final details & background: now for the final batch off the portrait, I'll be darkening around more off a few features off the face, like around the eyes and the nose. - Now for the background, you can have fun with any choice off color. Here I am using greenish yellow color. If you don't have greenish yellow and you want to go for this collecting than then, you can mix equal ratios off SAB green and yellow. I have switched to a flat brush here, so the job is done faster while the background is still wet. I am tapping a fully loaded brush with dark green color over reedy in green color. I want to create this effect off the film that is known as Kali flooring. I like this effect for my backgrounds. For more out of defect, I will be waiting the background again and topping some drops off Clearwater for enhanced a cauliflower in effect. And now, um, we're done