Beginner’s Lesson to Scene Build & Pattern Make.

1. Introduction: Hello and welcome to my brand new class on Skillshare. I've been working with Procreate, an application for artists, since two years. It's great to have built a number of compositions together, both simple and complex. So..If you're new here. Hi, my name is Farah. I'm an artist residing in Dubai, Middle East. Here are a few wallpapers I’ve made for 2021, of which on this class We are going to recreate my favorite, a little girl with fireworks. We will learn how to bring expressions onto her, how to build her silhouette. Work with various appearances and also place her in completely different settings. Thank you for joining me today. So happy to have you on board. And Now, let's share some skills. 2. Expressions: This is going to be the shortest sketch lesson on expressions. Let's challenge ourselves to complete five expressions in three minutes. Here we go! The best part of how simple this lesson is, is that we're going to have this made entirely out of circles and semi-circles. You can always mirror the shapes when one side is done and it gets tricky to do the opposite side. We are trying to build the front side of the character here and it'll remain as the base for the rest. This is Joy. Next, we'll keep the hair, ears, and nose as it is and work with the eyes. Notice how the new set of semi-circles of brows, eyes and mouth is facing downwards, which makes up for the emotion of despair. Although a few dots to each side of the cheek could be a little intense. Third, a semi-circle drawn right above a dot makes up for an open eye. But if you leave a gap between them, it makes up for an expression equal to the strength of an exclamation in a sentence, along with raised eyebrows. you could leave the mouth with a dot alone. But if you add an halved oval around it, you'll have something extra. And this is startled. Next, keeping the eyes as it is, we'll have the brows linear and drawn inward. And for the mouth, you can make a copy of either one of them brows and add a curve. This makes up for rage. Here are all the four common expressions we’re familiar with. But here comes my personal favorite. This one is side facing. So if we have a small semicircle on the top right for the nose, then we have a slightly larger one, diagonally opposite for the ears over the circle. Semi-circles. One starting from inside and an inverted one outside. Closing it with the halved oval makes up for one half of the hair. A bun, along with a line connecting to the nape of the neck, completes the head. Erasing off the excess. And here we have, to one’s heart's content. Now that we have a face ready, Let's watch different appearances on the next. 3. Appearances: This time we'll work with the front side. One face, six appearances. I've chosen a smiling face and it'll remain as the base throughout. Let's go for a thylacine brush under inking to create a bob cut with short fringes. Easy and simple strokes. Make sure to have everything apart from the face in separate layers. Erasing off the hair from the ears. Draw a small circle, duplicate the same, and join the ends. I’ll leave the colors changed for the accessories from here on. And here's the quick witted one. Leaving the glasses as it is. I'm choosing the chalk brush from calligraphy for the hair. The brush is quite ashy, so go absolutely wobbly as you wish. I also wanted to add some stubs on him. I thought to go with stubbles under touch ups. That's not the kind of packed coverage I was looking for, So the next best thing is to manually space stubble with sketch pencil like so. Here's our high school crush. Next, I'll make the eyebrows thick and reduce opacity to later add in some ink pen strokes. I'm looking to create something lightly fuzzy for the beard. Let's use styx from the drawing brushes. I'm going in swirls to create a thick curly beard, planning to leave him bald with one or two strands maybe. And this is uncle Anthony. Fourth, I'll leave the eyebrows as it is and draw a rope band about the head. That's called Agal in arabic. It holds down the scarf that Arab men usually wear The scarf is called keffiyeh. And To draw that, Let's draw two lines, each from above the eyebrows till the ears. Two lines each from either end of the band to a little further down the face. Doesn't need to be neat all. Join from the top. And that completes the keffiyeh. For the telephone beard. Let's have a line drawn about the mouth and the letter V drawn below. Join the ends. Pull the wider points to meet the respective edges of the face and fill in. Add a slight fade with sketch pencils around, along with a pair of thick sideburns. And here’s our freak Sheikh. Next, let's bring back the thylacine brush and add some curls on this one. Stacks of little bulbs makes for easy plaits. There's almost less work with appearances in female characters other than on hairstyles and brows. But if you play with the features, it makes a major difference. Just like how different beard styles completely changes the image in men. This is our little Tessa. The last one. Same brush, same swirls but in short, like a bob cut. Adding a pair of earrings this time. Also adding a scarf, which is quite an easy accessory to draw. One loop around and closer to the face and another one a little away from the first. Finish it in a way that it lands on the shoulder. Erase off the excess. And this is our next-door Biriyani Aunty. Procreate offers quite lot of interesting brushes that helps you elevate an illustration. A lot of its distinctiveness comes with its colorful too. So here we've covered six appearances. Stick around to watch how the character builds further. See you! 4. Hairdos: Hairdos. Though we started off with a casual bun, Let's watch how well different hairstyles fits the little girl. Trying to do something really short here. Pull the fringe line to the back of the ear and join it with another one coming from the puff. Draw a line from the nape of the neck and join that with another one coming down from the back of the ear. extend the same above the head to make a crown. And here you have a wind blown hairdo. Next, this one is simple. Draw a wide crown from the puff down to the ear and leave some loose waves. And this is her with long waves. Third, from the end of the crown, draw down an elongated semicircle, close it with another inverted one. Finish it by leaving a connecter to the nape of the neck. And here you have the high pony. Fourth. I'm extending the crown all the way down to the neck and adding some small blobs to create plait. This is a one-line sketch from one of the appearances from the previous lessons. Fifth, draw some tight squiggles up till the back of the ear making it look tied in a side pony. Leave the rest hanging loose. Doesn't need to be neat fill in at all. And this is springy spirals. Here are all the six hairstyles, including the casual bun we started off with. It's insane how such a simple composition of lines for hairstyles make a huge difference in a physical appearance. After a line drawing is set, the colorfill and its details are the two things that help elevate an illustration. Let's take an example of the spiral hairstyle. Reduce the opacity and on a separate layer below, fill in a shade of brown that you like. Now pick a shade lighter to the brown, choose a soft brush and paint the bulged area to show volume. Go back to the outline layer alpha lock it and paint the squiggles with the darkest shade of the same brown. I'll make a copy of the same. And let's try the squiggles with an inbuilt brush directly. Let's watch how she builds into a whole character on the next. See you! 5. Silhouette: So we did the expressions, appearances and hairdos. Now let's watch the making of the silhouette. I'm keeping the sample work to the left. And since we had made the head already, let's continue from neck down. Always have in mind a faint idea of what the final gesture of the character looks like. We know how far the hand and the legs should extend. The rest are merely connectors. I'm looking to have a simple clothing for her in a pair of pajamas holding a string. Erase off the excess, And let's begin with the colorfill. Choosing a pastel Indigo for the top, thinking I might add some patterns on it later. Off-white for the trousers, brown for the hair, and a peach nude for the skin. Let's talk about the outline fill.. Overtime, I learned that the best way to lift an image is to give the outline a slightly darker shade than that of its inner fill. Next is to add the shadow lines under things that overlap a surface. On the face, under the hair. on the neck line, under the neck of the top. fingers and heels. Giving life to the brows and the hair. I've darkened the eye and giving small strokes over the brows. Onto the hair, lightening the bulges for the volume with soft brush and finishing it with fine lines closely stacked with sketch pencil. Pattern fill. I'm choosing flower power from vintage brushes. Let's test this with a light rose pink. The beauty of brushes like these, is that it gives multiple shades of the same design at a single stroke. I tried to alpha lock the base layer and paint the pattern onto it directly. but I did not get the flowers at the areas that I wanted. I'm using a separate layer now so I can shift each flower to my liking and erase the areas that are not needed. I like to keep the top simple, so I'll add a collar and a few dots onto it. Also, I had left out to add the shadow lines beneath the hand earlier, so it overlaps the pattern now. I’m leaving the trousers with some steady stripes with monoline pen. As we reach the end of the artwork, Let's add some highlights onto the face, fingers, top, and feet. On this lesson we've learned easy to follow minute detailing of a character. Let's watch how to place her in a scene on the next. See you. 6. Fireworks: Four steps to fireworks. Now that we have our silhouette ready, let's go ahead. Reducing the size of the character to fit the rest of the artwork. Step one, base drawing. This includes a circle to know how wide the burst is. A line for the string. Another line for the ground. To top this we begin with the fall of the burst. All lines pulled downwards in a curve. Over this we’ll add small circle to the ends of the fall lines to know where the swell of the burst is. As soon as we finish that, I'm adding a dark shade of turquoise for a look of a nighttime. I'll also keep aside the colors I need for the firework. That leads to our next step, that is Base fill. This will be the darkest shade of all. I'm using a monoline pen in size 15, going in and around in small circles in dots. From here, let's go inward. Tapering towards the center. Having said that, there is no specific center point, we just have to bring all the fall lines together as close as possible with enough breathing space. Step three, center fill. Here we're going in with the second color, same brush in size ten, Dotted, but in the shape of a drop on the fall lines, not extending further inside. Let it overlap, let it get crowded. It'll all come together in the end. Step four, fore fill. This layer changes everything. I've named it fore because it's the first thing that we see and the last thing that we do. Choosing our last color in white, in size 27, only over the mini circles. Reduce the size to one extremely small and scatter the dots all over the fall lines. This is what gives the feel of the burst. We're almost done here. But to give it a lift, we need to add both the shadows and the highlights. Pick a color, darker to the background and paint beneath the fireworks. Reduce opacity and choose the Gaussian blur from adjustments to blend in with the background. Complete by drawing a string with sketch pencil. Next, I'm making a copy of the character and filling it with the same dark shade, reducing opacity to less than 25. And this is to make it look like she's standing in the dark. So the focus goes entirely onto the firework. On to highlights. Choose a soft airbrush in bright yellow and paint the areas on the character where the light is likely to fall. Hair, face, shoulder and fingers. Add shadows for the character behind and on the ground and reduce the opacity. There's a huge variety of illustrations that you can do with stack of dots alone. I'll make sure to have a class specific it it. Till then, see you and watch out for your bonus on the next. 7. Bonus One character Three scenes: On thislesson, we're going to place one character in three scenes. This is going to be fun. Let's begin with scene one, Garden. I’m choosing a watercolor brush from painting in olive green for the background. This is one of the prettiest brushes and gives a very natural blend. I'm going with Aurora from artistic for the plants. This is my go-to brush for plant fillers. Some long stems and leaves with 6B sketch pencil and back with watercolor brush to make the roses. According to the illustration, you can alter her hand gestures and expressions. I'm leaving it as it is, So to save the video from a long stretch. We’re only trying to focus on how her placement looks different in every scene without a change in her position. This is her taking a whiff of a rose in a garden. Scene two, Kitchen. I'm trying to place her in front of a huge arched window. choosing a mono line brush in brown for the frame. I'll try and thicken it later, but for now, let's have a base For an old cottage look wall, I'll have the base painted with watercolor and then draw some bricks with mono line, leaving the opacity reduced. To make it look like a rainy day, I'm using watercolor brush in ash blue. Make it a little curtain In off-white and add some volume to where the pleats are. Reduce the opacity and finish it with sketch lines. Offset some dashes with technical brush in off-white for the rain. And a huge mug for the coffee. Now let's add some fillers to complete the scene. A shelf, some utensils, and a few plants. I'll have this part fast-forwarded it so to keep the video short.. Lastly, to give it a gloomy day feel, I'm choosing a gouache brush from painting to lightly brush all over and softly erase with the same brush set. Also, don't forget to add the shadows. Scene three, a corner. I'm trying to make her hold of pet and I'm thinking of a fluffy cat. Using technical pen brush and sketch pencil for the base. making the fluff with fine hair brush from touch ups. This is comparatively a less happening scene. But then again, it's just a corner. Adding a few fillers to the space with a cat bed, his play strings and a lantern to make it look homey. For a change, I'm using blotchy brush from calligraphy in mud brown to create a wallpaper. Reduce the opacity and add a few mini flowers to make a cute print. Choose a dark color of your choice, drop it on top and erase it off with watercolor brush. You may name this as a keyhole view, although my aim was to show a little space in dark, visible only under the light of a lantern. Also, I've made a slight mistake of not adding the drop-down shadows of the fillers on the floor. But always remember shadows and highlights are the two things that brings the pop to your illustration. Hope the bonus lesson was worth the wait. See you soon.