Retro Style Portraits in Illustrator: ASCII Art | Harbor Bickmore | Skillshare

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Retro Style Portraits in Illustrator: ASCII Art

teacher avatar Harbor Bickmore, We Out Here

Watch this class and thousands more

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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

12 Lessons (46m)
    • 1. Intro

    • 2. Class Project

    • 3. History of ASCII Art

    • 4. Choosing a Portrait

    • 5. Choosing a Typeface

    • 6. Document Setup

    • 7. Choosing Characters

    • 8. Starting the ASCII

    • 9. Skintones

    • 10. Eyes, Ears, Mouth, and Nose

    • 11. Finishing Your ASCII Art

    • 12. Outro

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About This Class

If you are a graphic designer looking to learn a unique illustration style, you are in for the ride of your life! Hold on ladies and germs we got ASCII art.

This class teaches graphic designers how to create custom ASCII art from a photograph. This unique illustration style is a great technique for achieving a retro-futuristic aesthetic and creating something that is sure to turn heads. 

By the end of this class, you will have made a custom ASCII art portrait and know how to illustrate anything you can possibly imagine in the ASCII art style. 

Skills you will learn

  1. Working with Monospaced typefaces
  2. Convert portraits to ASCII art in adobe illustrator
  3. Incorporate ASCII art into a composition


  1. Illustrator Design file. This is the file that I will use to create my work of ASCII art. You can dig around and see what I did, get inspired, and possibly discover something new.
  2. That That ASCII Typeface This is a typeface that I designed specifically for making ASCII art. It is the typeface I use in the video and I want to give it to you for free!
  3. Guide to Making ASCII Art E-book. This covers everything we go over in class but in an E-book form. It also has additional resources. I normally sell this but we are friends, and I don't sell stuff to my friends. So I am giving it to you for free. 

About Harbor

Harbor, your instructor, is a graphic designer passionate about typography and typeface design, Harbor is working as a graphic designer focusing on branding and is a professor teaching graphic design at Dixie State University as well as pursuing a masters degree at SVA in New York City.

Other classes taught by Harbor

Link to Harborâs Type Foundry That That Type

Meet Your Teacher

Teacher Profile Image

Harbor Bickmore

We Out Here


Hey, I'm Harbor, Like Beyonce I need no last name. I have been studying and working as a graphic designer for ten years. I have worked in production design, branding, freelance, and am currently pursuing a master's degree from SVA in New York.

Check Out My Type Foundry ThatThat Type

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1. Intro: What is up Skillshare? My name is Harbor Bickmore and today, we are going to learn how to create a retro style illustration using only type, baby. Let's get into it. Now that we've got that sassy little intro out of the way, let me tell you, this class is for graphic designers looking to expand their skillset. Looking to get into a little bit of a retro style, looking to get into a little bit of illustration, perhaps. Either way, if you can offer these unique styles as a graphic designer, if you can offer illustration, that's a bucks in the pocket. Let's say you want to do a portrait of your friend, 10 bucks, a stranger, 20 bucks, your rich uncle, 50 bucks. That's just money in the pocket, baby. I digress. This class, I'm going to call an intermediate scale level. You're going to need to know how to use Adobe Illustrator. Adobe Illustrator is the only software we'll be using in this class. If you have somewhat of the knowledge about how it works, you don't need to know crazy ins and outs. Just how it works. You should do fine in this class. Okay, let's talk about what we're going to actually do in this class. We are going to turn something like this, so handsome, into something like this. Very cool. As we do that, we are going to learn a few key skills. Those key skills being, how to identify a good portrait. We are going to learn how to choose a retro typeface. Finally, we're going to learn a little bit about the history of ASCII and what the heck it is. When we are done with this class, you will be able to recreate any portrait under the sun, in this ASCII art style. You could do friends, families, schoolmates, teachers, even enemies, but not only that, you can recreate any image your heart desires in this ASCII style, and learning little bit of history along the way. Let me reassure you right now, this is not a complicated thing, it is super easy. As long as you have a knowledge of Illustrator, you should be fine. Now let's get into the next video, where we talk about the project. Super excited to see you there. 2. Class Project: We made it video two the sequel baby always better than the original. That's a ridiculous thing to say. Anyways let's get into the project. What we are going to do in this class is choose a portrait that is appropriate for ASCII Art. Second we're going to choose the typeface again that is appropriate for ASCII Art. Third we're going to recreate said portrait using said typeface in a perfect size to share on social media or wherever you like to share your design work. Now before I move on any further I want to hit you with a few things that will help you succeed in this class. I'm talking about first of all do not be afraid to pause, rewind, and re-watch. I know this can be a lot of information to take in, but don't worry if you pause, rewind, and re-watch you'll get it all. Second are the resources. The resources for this class are super valuable. The three things I'm going to include is number one my design file everything that I did you can have. Number two a guide. It's a little electronic book about everything that this class goes over in greater detail, and you can have it to hold and cherish forever. Third probably the best is I'm going to include a free typeface that I created especially for ASCII Art. With these three things this class should be a breeze. Finally I feel like it goes without saying but I'm going to do it anyway is post what you did in the class projects. You can inspire other designers, you can be inspired by other designers, we can all give each other feedback, and we can grow collectively. Before you move onto the next video download the resources, and then I will catch you in the next video. 3. History of ASCII Art: This is video three. At this point, I feel a moral obligation to teach you a little bit about the history of ASCII art. It's like you wouldn't strike a match without first learning about fire, that would be disastrous. Let me tell you about ASCII art. ASCII art is basically the umbrella term that is used to refer to any image that is created using only text, specifically the 128 characters of ASCII or the American Standard Code for Information Exchange. Basically, what that is is the ones and zeros, the binary code that your computer uses to ultimately display text on the screen. That's as technical as we're going to get. Moving on to the historical part which I find fascinating, the 1960s, computers were the new kid on the block, but the new kid on the block was extremely limited in what he could do. He could only display text. They didn't do images and thises and thats, but people wanted imagery. They took the limitations of these text-only computers, and they created their own images, they created ASCII art. Now, I think there's a super cool lesson here as a graphic designer in general. A lot of times we think of limitations as just that, inhibiting things that if they weren't there we could do better. But that is not the case. As a graphic designer, you need to look at every limitation as a unique opportunity. Because imagine if computers from the very beginning could do it all, do everything they can do now, we would miss out on this awesome period of history. So the limitations, basically, of any technology become its hallmark, the vinyl crackle, the ASCII art, the VCS sizzle in video. Those are things that people strive to recreate and they came about because of limitation. Anyways, moving on. In a nutshell, that is the history of ASCII art. Now you can design responsibly, and design we will start to do as soon as we choose our portrait and our typeface and that's all going down in the next two videos. 4. Choosing a Portrait: Video four, let's choose our portrait. Drink me in real quick because this is the last time you're going to see me until we are done with this class. Let's get into the screen. That's right, baby, I'm doing a portrait of myself. You thought you weren't going to see me again, but that was a psych. So let's talk about what is important to have in a portrait for ASCII art and what is not necessary in a portrait for ASCII art. The first thing that you want to worry about is the lighting. You want to have a good light area and a dark area. You can see on my cheek and forehead is very light and my hair, my mustache, and my mouth is very dark. Under the chin, in the eyes, we have a good midtown. So that is perfect. The next thing you need to worry about is the pose of your subject. Now, I have found personally that this, I'm not going to call it three-quarter, I'm going to call that six-eighths, the six-eighths profile. So I'm a little bit turned to the side. I'm not straight on and this turn to the side helps define the lines of the face. You can see the side of my cheek going to my eye and my forehead is an interesting curve. My curve of my nose is well-defined. You can see my ear, which is interesting. You can see the back of my hair on one side and my hair disappears behind my face on the other side. My jaw line is there. These are all things that will lend themselves really well to ASCII art. The third thing you need to worry about is the framing of your subject. I fill up pretty much the whole area. I'm shoulders up, my head is not cut off. You can see all of my hair and that's important. You want your subject to fill most of the screen, but you don't want the top of their head or their hair to be cut off. We need that information for creating our ASCII art. Now, we know what we need to look for, let's talk about what we do not need to concern ourselves with. First, we do not need to concern ourselves with anything going on in the background of the image. For this image, we are only going to recreate the subject, the foreground, whatever is in the background, we will ignore entirely. Another thing you do not need to worry about is your image quality. This one is a very high-quality image and that's because I will be using it for the thumbnail of this video. But I've done many a ASCII portrait with a low-quality image. Anything as bad as this will work just fine, you just need enough detail to define the lines and the shading of the face. Finally, you do not need to worry about little details. If I got a weird mustache hair that's kind of wonky, I got chappy lips, I have these little bit of zitties on my neck, but you know what? All of that stuff we can just mix. You do not need to worry about the little nitty-gritty details of your image. So just to recap real quick, three things to worry about. Our lighting, have good light and good dark and good midtowns, the pose, and the crop of your image. What you do not need to worry about is the background, the super sharp quality, and the little details. Once you've selected your image, move on to the next video where I'm going to talk about how to find a perfect typeface for recreating ASCII art. I will catch you in the next. 5. Choosing a Typeface: Let's get into typefaces. Choosing an appropriate typeface is probably the most important part of ASCII art. You can't just choose any typeface. There are three things that are basically important when choosing a typeface for ASCII art. I'll start with number one. The most important thing is your typeface needs to be a monospaced typeface. What this means is that every letter of your typeface takes the same width. The M, which is usually wide, is going to take up the same amount of space as an I, which is usually very narrow. This is important, this is key in creating ASCII art because normally a well-designed typeface will strive to have every letter appear to have the same visual weight. We don't want the M looking darker than the I or the O, or vice versa. If you squint your eyes and look at a well-designed typeface, all the letters are going to be about the same visual weight because they have the liberty of having a wide M or a narrow I, but that is not the case in a mono-space typeface. In a monospace typeface, they have to fit an M, which is usually really wide, in the same width as an I, which is usually very narrow. Therefore, the I is going to have a lot of white-space on its sides and it's going to appear visually lighter. The M is going to have to be squished and condensed. It's going to have a lot of black space in that letter, and it will appear visually heavier. This is super important when creating the lights and the darks in your ASCII art because all we have to work with is letters, we need to choose a typeface with really dark, heavy letters and a really light letters. Monospace is a must. Moving on from monospace, these next things are personal preferences that I have found work really well. You need to have a bold typeface. This is because they create darker darks. The most difficult thing with ASCII art is that you cannot get dark enough darks sometimes. Light, easy, do a space bar as light as it gets. But having these dark darks will make your portrait more dynamic, will make it pop. I suggest a typeface that is somewhat bold. Finally, choose a sans-serif typeface. This is important because again, the history of ASCII is in early computers. Early computers did not have the pixels to create these detailed serif typefaces. They used very basic sans-serif typefaces. With that, we are super out here. We are ready to open Illustrator and start creating ASCII art. I will catch you in the next video. 6. Document Setup: We are officially in Illustrator, I just launch the app and I'm going to create a new document. Now, I would ask you to follow along exactly with these settings. Usually I'm all about, there's no wrong way to either [inaudible] and experiment and find what you like, and I will encourage you to do that after you have watched this class. But for the sake of learning, so you can really hone in on the most important parts of ASCII art, I would encourage you to follow along with my settings exactly. Let's get into it. I created a document that's 1080 by 1080 because we want to share it on Instagram or what have you. I like pixels and I have one art board. That is the important thing. Bleed, we don't need to worry about. Color mode, we don't need to worry about all that. 1080 by 1080 and I'm going to call this ASCII for you, because this is all for you, baby. With that, Create. Cool. We are here. Now from here, the thing you need to do is import your photo, simple enough. File, we talk about Place. I am going to drag and drop my file just so that it takes up the whole art board here. I think I'm going to size it up just a hair, all right. The main thing you need to worry about is that your hair isn't cut off and your face fills most of the screen, and that is the case here, I'll make it a little bit bigger. Perfect. Now, what we need to do is convert our photo to black and white, this is very important. So to do that in Illustrator, we select our photo, we go to Object, we go to Rasterize. RGB, 300, all that. [inaudible]. Now once our photo is Rasterized, we can go up to Edit. We can do Edit Colors and we can Convert to Grayscale. Now making your photo black and white is super important because ASCII art, again, it's made with just type. So we want to type dark symbols like an M, where they're dark parts of our portrait, and we want to type like symbols, like a space bar or a little dot or a colon where the light areas of our portrait are. I don't like to mess with this border here, so what I do is I create a box that is 1080 by 1080, I like it. Then I center it to my art board and I select the image, I select the box by holding Shift and clicking that, and then I do, on a Mac, Command+7. That will put this in its own frame. If you don't do Command+7, you can always do Object, Clipping Mask, Make. The object that is on top will become the mask for the object underneath. With that, the last thing you need to do is create another layer and lock the layer you just created. I'm going to call that back for the background, and I'm going to call this ASCII because this layer is where we will be doing our art. Now, anything I do to this, it won't affect the image underneath, so that is awesome. But one last thing before I do that, I want to change the opacity of this image. Because when I type over it, I don't want my type to get lost. So I'm going to lighten up just enough. Going to go to Opacity, and I would say 30 percent to 50 percent depending on your image. I think for this one, 45 is going to work. The important thing here is you don't want to lose the area of the darkest dark, you want to differentiate the darkest dark from a midtone dark, and you want to differentiate the lightest light right here from a midtone light, which would be something under the eye or under the chin or the jaw here. I like this opacity, 45 works for mine. We're going to lock that layer. Last thing we are going to do before I move on is we are going to create a text frame. Make sure you're on your ASCII layer, so you can click the Type Tool and make a frame that is as large as your image. Mine here is not quite there. Okay, perfect. Now I can select all this text in here and delete it. I'm going to keep this little bit because what we are going to do is change this typeface. Again, all of these type settings exactly if you are using the type face, That That ASCII that you can download from the resources. I am going to go size 22. For the letting, I'm going to go 28, and I will choose That That ASCII Regular. Now with this, we are ready to start making our ASCII art, but you might be asking yourself, "Oh, how will I know what characters to use, there are 128 characters and ASCII." but we are not going to use nearly all of them. In the next video, I'll show you the character set that I use to create ASCII art, and then we'll get into it. 7. Choosing Characters: Selecting a character set is very important for ASCII art. With 128, which ones do you choose? Well, we simply need to think about what we're doing with our photo. We are basically representing dark and light areas with characters. From dark to light, I have M, N, and 0, I, parentheses, right or left, it doesn't matter, colon and middle dot, finally, space represents white. Now, why do I choose these characters? I chose these characters because not only are they good representation of darks to light, they also have a nice squareness to them. We want to choose these letters, the M, N, O and I, because they are pretty close to square. When you get lighter, it's very hard to choose characters that are close to square, so the parenthesis, colon, and middle dot work totally fine. The sides defining the dark and light values, I have another character set that I use to define the edges and lines of the portrait. The line characters I choose to use for vertical and exclamation point, then I have three horizontal lines and dash. I have the macron, I have the underscore, I have the forward slash, backslash, then finally a T and an L, which I use very seldomly for really small details. The two tricky characters to type are going to be the macron, which is the tall horizontal line and the middle dot. Using a Mac for the macron Shift Alt, comma. For the middle dot, Shift Alt nine. If you're using a PC, click "Nothing", go to a Mac store, buy a Mac, and then use, Shift Alt, comma, and Shift Alt nine. That was a pretty mean joke, but I do not know how to do it on a PC. With these 16 characters, we are going to be able to define shades from dark to light and draw important lines where they need to be. With that, let's move on to the next video where we will start creating our ASCII art. 8. Starting the ASCII: We are back in Illustrator. Just to remind you real quick, we put our image on a background layer and locked it. On a layer on top of everything, we have a text box that is the same size as our art board. In this text box, let me, that's me, show you. We have our text that is That That Regular, 22 point, and 28 point letting. That's the settings I'm using, and I highly recommend you follow along. This is designed to give you the best experience and the deepest know-how of ASCII. You'll see why in a second. Anyways with that said, I'm going to leave harbor here just for kicks and I'm going to harder turn to the next line. Now, what I'm going to do is just click this space bar until I get to the hair. This hair you can see here has a downward to the right motion. What I'm going to do to represent that, that's two backslashes, easy as that. I'm going to space, space, space, space, space until those little wisps, I'm just going to ignore. I have that freedom. I get to right here. It's the top of another curve. It just is barely hitting the bottom of my cursor. What I'm going to do is hit Shift dash. It gives me an underscore, and I'll represent the top of that curve. I don't think I'm going to do anything else until the end. I'm just going to hit Return. Spacebar out again until I get to here and start to see the beginning of this curve. Now, this curve I'm going to describe with slashes going this way. Then it looks like it switches. I'm going to do slashes going this other way. It looks darker here. I think I'm going to do an I, I want to do a capital I, and I'll hit a parentheses because it fades, and then I think I can hit these back slashes again until I get to the end of the hair, I'm going to spacebar out. At this point you're just interpreting what you see. It doesn't have to be exact because at any point, you can go back and redo what you've done. I like to, when it's all finished, go back and redo and refine my illustration. So for now, it doesn't matter, just focusing on getting a general picture of what might be in place. I'm going to do another. I'm going to get some forward slashes here, a space bar and some backslash. One backslash should do. That is it for that line. So I will return to the next. Now, before I go any further, I do want to note at this point my characters are black and my background image is black and white, and I don't want to get lost in that. So what I like to do, I like to change my characters to a different color. I want to go with this blue here. I choose this blue because it's not so bright that where I intend for dark areas to be, they actually end up being light areas, but it's not too dark then it will get lost in the dark areas of my image. Moving forward. I'm spacing out. Oh, I want one line too far, space in and out. Again, I'm going to hit this little slash, slash. I'm going to hit an I. Maybe I'll get crazy with the O, O, I, I, O. That's dark. So that's another zero. There's a little light point here, so I'll go back to the I and then I think I can hit the zero, zero, another I, I and then to continue with the direction of the hair, I'll hit two back slashes then I'll space it out. Here I think I'll do an underscore, I'll do regular dash and then I'll hit Shift Alt comma to get that higher up one. Then I think I can start off with a zero. I'll do zero, zero, it gets a little bit lighter. So I think I'm going to do an I and then it gets lighter still, but how crazy do I really want to get? I'm just going to say Is, Is for now. I, I, and then I want to describe this curve of the hair again. We'll do a dash, dash, dash, we'll hit another thing there. I think I'm going to describe that part of the hair as well, and with that, I can return to the next line. I'm just going to continue. I'm going to get the hair done until about the forehead in this same way, describing key curves of the hair, something right here. I'll probably try and describe this motion of the hair. I've curly hair, so it's nice to describe these bigger curled sections, and then through a lot of the hair, we're just going to use these value glyphs, the Os, the Is and ends when I get into here. I'm going to do a few lines and check back with you and see what we have. Remember every few lines I like to go up here, toggle off my image. Right now it doesn't look like much, but every three, four lines, when I toggle this image on and off, you'll start to see the picture develop. 9. Skintones: At this point, you can see I have a good portion of the hair done and let me preview. That looks like really nothing, but that's okay. We're about to get to where the image will really start coming together. Once you define the outline of the face, once you do the eyes, is when it really starts coming together and reading as a portrait. For now, I'm just filling in the dark to light areas of the hair. Things to know is I chose the darkest part of the hair right in here to use the M's and I try the grade 8. I usually don't go from an I to an N or an I to an N instantly. I can usually go ION and give a soft fade from dark to light, and I save the abrupt I to N or the I to M for parts of the hair that really should stand out. See, I'm noticing already here, I want to give two slashes there, another slash here, maybe even another slash here to curve this piece of hair. So as I go, I work with the image and make decisions along the way. One thing to note know where the forehead meets the hair. I just used this macron, doing shift alt comma across the top to define the line of the forehead. Now I'm on the line below here, and I am going to show you what I'm going to do. I'm going to IO. That's a little bit darker, NN, and I'm going to use this forward slash to define, that's the start of the head. Now I'm going to get into the lighter marks. I've been usually to this point dealing with the darker ones and that's one thing I like to do because I have darker hair, I like to really use generally the dark tones in the hair. I'm talking about the MNO and I. Then once I get into the skin tones, I usually use primarily the parentheses, the colon, and the middle dot. So I'm going to do shift alt, nine on the Mac and I'm going to dot myself out until I get to here, which is the lightest area. Then I'm going to use the space bar. Here, it looks like I need to dot it again and I'm going to define the edge with a slash and then it gets really dark right away. I'm going to start with an N and then go to an M onto the next line. I'll do one more. I'm ignoring a lot of this hair on this left side, and I think it will read better in the end, but we'll see. Slash in it and then I'm going to go IO and hit in that slash. I'm going to hit these middle dots until I get to hear. I'll underscore. I'll do a dash, dash and then a macron to define this line in my forehead. Then I'll space bar until I get to the end. I think one middle dot should do. A slash and then, again, getting pretty dark right off the bat. This one, I'm going to start with an N and go NN, and I'm just continuing this motif. Boom, I'll go to zero and at best last these are lining up nicely, which works for me. I'll hit a dash and then go to the macron up top. This doesn't have to hit exactly. You'll notice that this is pretty far off from where the line goes. But if I take away the image, it doesn't read wrong, it reads all right. I'll space until I get to here. Actually might want to underscore. It's going to be too low dash, dash and then I'll hit more macron again. I think that that's as far as I can take that. Again, this doesn't hit exactly, but that's okay. It will read, all right. Here, a subtle gradation. I'll get to these middle dots, and then I'll get to a colon here. Let's preview without the background. You can see my forehead, some creases in it and where the light is. Now right here, I think I'm going to take away some of these replace them with space bars, and I think I might add one or two middle dots right here to see if I can even it out. That's looking all right. I turn my image back on. I'll continue and I will skip forward till I get to the eyes and I will catch you at the eyes. 10. Eyes, Ears, Mouth, and Nose: We are now at the eyes. Now, before I hit you with what I did for the eyes, let me turn this off and show you what I did with the eyebrow. One thing to do with the eyebrow is exaggerate how dark it is. Note that I also used the L here because in this particular space, the bottom half was so much darker than the top half. Instead of just using an underscore, I want to exaggerate the eyebrow, so I used the L. Then the N, I moved into, and the O, again, back to the L. I used some Ts down here. Look, that's not even that dark. But again, I'd like to exaggerate the eyebrow. It will really add to making your image real and pop. With that, I'm at the eye. Another thing I'd like to do with the eye is exaggerate the shadow as much as I can. I don't want to go crazy using the I character, but I will use this colon until I get to here, I see this mark, this line of the eyelid, and I think I can go for that right there. I'm going to maybe then do a macron on top. Yeah, that looks good, and I finish it with that symbol. I might hit one of those and then space it out until I get to there. Exclamation point there and a slash to get the eyebrow going. I'll use some parentheses here. I might even go for an I here. To define the nose, I'll use one of these characters, well, parentheses fits perfectly there. Then I'll space it out, middle dot, colon, colon. I'll use that, space for the whites of the eyes or perhaps, a macron doing Shift Alt "comma". Then for the eyes, this is a little some I like to do the at-symbol. It just a really stands out from the rest of the symbols and you really want your eyes to stand out. That's one thing I like to do. I'll go back to a macron, macron, macron all the way really, I think. Yeah, we'll see how this looks. Again, all of this can be changed. This is just getting a cursory first look, just really wanting to lay down a base so that later, we can go on and change. Let's do colon. Yeah, I think that will work. I'll do a forward slash, macron, macron, macron. Probably something like that, or maybe even something like that. Now, this is a bit tricky. I might want to actually define the eyelid, so I might do Ls right here, and I'll see how Ls look. I think this one too, I'm going to do the @ symbol. Now, this may look wonky, but we're going to test it out and see what it really looks like in a little bit. Let me just fill in the rest of this some dashes. Actually, I'm just going to focus on the shade here. I'll do the dash, colon, colon, one colon, N, N, N, I. Then I'll define the ear with some lines and go O. I'll do Ns down here, an N, and then finish it off with a parenthesis. One last line, now this is important. We're just going to have to massage and see what we can do with this eye. Again, because of this 22 font for this size, it's going to be a bit tricky, and that's on purpose. I really want you to just experiment with these lines and figure out the best way to go about creating your ASCII with these limited parameters. I want to see how the at-symbol looks here. Now, that's way too low. It looks like my eyeball is melting, so we definitely do need it at the top. Now, because that's at the top, I'll probably want to make up what the eye would look like. It would probably have those type of lines, it's going to be the bottom eyelid now because of that is actually our eye. We just move the whole thing a little bit up to help us out. That's a good line for the nose. For this, I don't know. We'll see. Let me go back to that. It's tough to say. We won't worry about it for now. I'm going to space bar, colon, colon, slash. Some middle dots here. Highlighted the cheek, highlight, define that ear. I'm going to do this. Boom. Space. Now, let's preview this. Those eyes are looking all right. I'm definitely going to go back and refine them. For example, I want to space bar there. I might even do an N there. Defining the nose is a bit tricky in this particular circumstance, but I think that will work out fine. I'm going to fill in the rest of this and see you when we get to the mouth. At the mouth, let me turn off the background layer. You can see I defined the nose here. I used a seven to get real exciting, I never used a seven, to try and describe the top bridge of the nose and the darker inside. Now, again, these are a little bit off, but if I turn off the background image, they don't read as too crazy. If they do, we can always tie them up in the end. Then I did my mustache here with very dark, because that's what it is. Now, I'm at the mouth. I have this little dimple here, that I'm going to define like that. I have the curve of my little jaws, my cheeks, and then my mustache is really dark. One thing you need to be careful with is the mouth and teeth. Now, you can try and define the edge of the lips with the line detail characters, but if you do that too much, your image will look a little bit cartoony. I'm going to try and stay away from that as best I can, and just define my lip with value. For my beard, for my little stubble, I'm using a colon and I am using characters to define my jaw line. I have my jaw. Use those to define my ear. That's going to be a colon. It's a little bit darker behind my ear. Define the edge of my neck, and then get into the hair. Space out again, another slash, M, M, M, N, I'll go with a macron. Then I'm just going to leave all the teeth blank. I'll act like I have a lip. Start defining that, another macron up there. Then I'm going to space it out, give myself some colons for my stubble. Right there, I have a light patch where I don't grow in so well. I'll do a middle dot, and go back to the colon, and define the jaw line with an exclamation point. Let's preview this and see how it's looking. It looks like it's coming together. I'll finish with the mouth, and catch you at the chin and neck area. 11. Finishing Your ASCII Art: We made it down to the jaw line. You can see that I just defined the edge of the jaw, breaking it up in between these colons that I use for my little beard. If we look at it without the background image, we can see the jaw is pretty well-defined. I might need to make it stronger in through here. Perhaps I can get away with not, we'll see. One thing that we want to do is to exaggerate the shadow under the chin. This just helps to really make the face stand out. For the shadow under the chin, I usually go with an I and then slowly ease it in to the colons that I'm using. Going into the middle dot and then space bar. That should work. I'll hit it with some Is. Then go into parenthesis, and then go into colons, and finally, middle dot, and space it out. Now, where the shirt starts, let's do that. Finally, you can see I have my Adam's apple highlighted here. I will see what I can do there. I'll go straight to colon there to identify that difference. Colons, middle dots, and space bar. I want to define the edge of the shirt very well. The shirt is generally darker. I can decide what color I want to make it. Looking at this image, it's got nice darks, nice lights, couple midtones here. I think I might make the shirt something around the zero. I think that zero or the I, might be the way to go. I'll test it out. If it works, awesome. If not, I can always change it later. I think you get the just of it. I'm going to go ahead and finish this off, and I'll catch you at the end of the ASCII. I'm officially finished with the ASCII. Let's preview without, looks pretty good. Again, a few things to note; the lips, I didn't define super well. This eyeball could use some work. So what I'm going to do, the ear could use some work, is I'm going to go back and refine this. I'm not going to use the background image when I refine it. I'm just going to do it as is, as it looks right here and see if I can get a nice, really refined image. That is that. I went over it with a fine-tooth comb, made a few adjustments on the eyes, on the ear, around the mouth. I even added a little bit of sass. I said 2020, hitting down here, and that, that, ASCII art. It's always fun to add a little bit of sass to the portrait. With that, I'm going to stylize this. I'm going to select everything. I want to change the color of the text back to black. I'm going to add a background color. You already know what it is. This whole class has been pretty green. Let's add that 00FF12. That is my lovely green color. Send that to the background. I officially have ASCII art, baby. With that, I will catch you in the next video where we wrap things up. 12. Outro: ASCII and that's all, baby. We did the ASCII art and I'm super happy about. Before you leave, I just want to remind you one more time, share your project in the project section of this class. You never know who you can inspire with your ASCII, and we all want to build each other up. So post that, get some good feedback, and if you do decide to share your art on social media, tag me in it so I can share it as well. You're going to be like and I want to be like, about you on that social media. But I digress, I'm super glad that we could do this class together. If you want to learn more about me, all my links are in the description. Check out my websites, my socials, and my other Skillshare classes. I will see you next time.