Character Portrait Illustration in Procreate for Beginners | Lara Militaru | Skillshare

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Character Portrait Illustration in Procreate for Beginners

teacher avatar Lara Militaru, Digital Illustrator & Coach

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

    • 1.

      Introducing class


    • 2.

      Gathering references


    • 3.

      Sketching time


    • 4.



    • 5.



    • 6.

      Base colors


    • 7.



    • 8.



    • 9.

      Finishing touches


    • 10.

      Final words


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About This Class

This class contains an easy to follow workflow in Procreate for designing a Character Portrait Illustration from step 0 (you are going to find out what that is!) to final touches!

What is Character Portrait? It's a form of stylized portraits that you are creating for fictional characters! You will learn how to gather references, how to use them correctly and how to start sketching your unique portrait!

Afterwards, you will learn all the steps that you need to know up until the finishing touches!

Digital art can be intimidating at first, when you have so many possibilities yet you feel stuck. But by following this class, you will see how easy it can become if you just break it down into a few simple steps! 

What's more is that if you choose to get on board, you will be able to follow all my future courses and build your first Illustration portfolio! That's right, I already have more classes planned, and this is just the first step into creating your first portfolio!

Meet Your Teacher

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Lara Militaru

Digital Illustrator & Coach


Hey guys! I am glad you landed on my Skillshare profile and I hope you are interested in the classes that I teach! I would love to get to see your work in the assignments sections of my classes! I will give you feedback on your work, whether it's final or in progress.

Also, help me help you by telling me what you struggle with the most, then I will be able to make classes that will answer your questions!

I put up content on all my social media weekly! Daily art (posts or reels) on Instagram and daily TikToks about my Etsy shop! I would love to connect with you on Social Media as well!

Instagram (33k)

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Level: Beginner

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1. Introducing class: Hello guys and welcome to this class of stylized character portraits in Procreate. My name is Laura, and some of you may know me from Instagram as MRO on their score Arc escape. While most of you will probably see my work here for the first time. I had been drawing digitally for almost three years on procreate. And that can honestly save that in this app makes it so easy to fall in love with digital art. Digital art is not a difficult if you know how to break it down in order to make it work for you, I'm sure you can do with it because I was able to do with, and I came from a traditional art background. Of course, you can draw in any digital art program that we have. A lot of tools presented in my class are most likely available in a lot of different programs. But one year into using Procreate, and they already started illustrating children's books for clients. So if I achieved so much in the list and a year, sure, deck, you can do it too. And let's start by learning how to create stylized portraits. I structured this class in a manner that you will be able to replicate, and C is simply results. And I have prepared resources that will help you out along your journey. And I will be here for you every step of the way. What I need from you is to not only watch this class looks, to grab your tablet and draw with me. If you don't do that, you will most likely leaf practicing your digital art for another day. And I don't see why you should wait instead of jumping in right. Now, remember, progress starts with your first step. Already made that by joining this class. And since you are already here, why not join the fun? I prefer to an assignment for you all and I'm planning on giving feedback for everyone who submits their work. Essentially, I will want you to submit your final portrait, but I would be extremely happy to see you post your work in progress as well. By applying my workflow step-by-step, you will viewable tuple being clarity upon the steps that you need to perform. You will gain an understanding of which steps come first. And you will most definitely be able to apply this work in your artworks from here on out if you want. Thoughts loop my work. Definitely fake one minute of your time to follow me on Skillshare and Instagram. And they also have some real resource on my website as well. So make sure to check it out on the Skillshare. I will try to create monthly classes for you guys. So keeping in touch. Now without further ado, let's get to work. 2. Gathering references: Hey guys, welcome to the first part of our character courtship glass. This first part is basically step 0, and you have to think about it as if it were the foundation of your artwork. Know, the foundation is not the line art. It's not even the sketch or decomposition. It's DID. And the idea comes from research. Research doesn't mean you need to read books and whatnot. Immense. You simply have to spend a few minutes on Pinterest. So you will gather ideas in a board that will then help you decide what you want to draw. In the case I'm currently showing you, I decided to create a stylized portrait of Amaterasu, the Japanese Sun Goddess. As stated previously, you can choose to illustrate whatever team you want for your class assignment and in case you are out of ideas, I attached in the resources section a few topics that you can choose from. So for my portrait, aside from Pinterest, I also researched a little about a character, so I will keep it grounded to the original story. For instance, I'm not there also had mates that would make new clothes for her daily and the globes she would work in a day, would decide that the weather. So I want to go with some warm colors, maybe some red and gold. I'm anthroposophy is always featured with some sort of sunlight crown. So I will also keep that in mind. Now it's time to take the references we found on Pinterest and create a mood board in Procreate. To save time, I've already inserted the artworks that inspired me the most and added them to my mood board. But what is important to note is that this board is only for small ideas that you will use in your own art. You must not copy one reference alone. You need to make it yours. And since there is nothing new under the sun and everything was already created by someone else before. You just need to find that one thing that inspired you the most from one reference. Then you do that with multiple references and you are basically creating a Frankenstein artwork, but it's your own. No, I want you to better understand what I mean by taking one thing from each reference. So I will write down for each image the one thing that interests me. So this one has a really beautiful lightning and this one has a red chemo that matches the idea I had before. This one has a nice combination of white and yellow or gold on her to mono. The poles is really nice, but do we are doing a portrait, so I will remember that pose for future artworks. This one has a framing that looks really good. And this one again has a really nice pose, very, very powerful. And this one in the middle has a dynamic post that I like. And this last two ones have a really great material, lightning and movement. Now let me show you a second mood board with different digital paintings of Amaterasu. Like before, each painting inspired something different. So I will return to this moon ports for ideas. It will be impossible to use them all as references, but the free or four of them will become my main inspirations. Finally, I'm going to write down a few characteristics of Amaterasu. And I highly recommend you do that too. At first, you should do it in writing so you will be aware of what you want to show in your painting. With time, you will make mental notes and it will be enough. But for starters, you should make conscious efforts to think about what you are going to draw before you draw. I'm writing down some physical cleats that by all want to be aware of. And then some personality. Once in the future, I will make a full body drawing class where I will explain why I wrote down call an elegant. You wouldn't if we are making a portrait and you can't know how tall the person is. Well, I don't know why I thought it would be a good idea to write it down by hand instead of typing. So, excuse my messy handwriting. To conclude this first part of our class, this is a checklist that you will find in the resources of this class as well. I made it so that you would have it nearby whenever you are exercising. You can print it out or put it in, procreate and think of your progress. We are done with the references and the planning and that we'll see you in the next part where we will start sketching. 3. Sketching time: Welcome back to my stylized character purchased class. In the previous video, we discussed the importance of references and the blending of the character. And now we will start sketching. For this part. You can either draw along with me or you can create your own character based on your own team at dashed released themes in the room section of this class. But you can also come up with your own or as I said, you can just go along if you want to see the exact steps I am making. Either way, don't forget to upload your progress and your final illustration in the assignment section, I would really love to see your progress as well, like the sketch and give you some pointers wherever I can. So as you can see, I activated the references window from the Actions menu in the Canvas subsection and chose the second moodboard is a reference for the sketch. You can also use this reference window as a mirror of your drawing. We will be able to really small size and next to the drawing that you will be working on. The second option is really good to use later in the process. So you will be able to see if the small section that you will insist on detailing will actually bring any difference to your bigger picture. Right now, I am taking inspiration for the posts from this artwork and they will want to recreate that shoulder angle as a portrait. I also felt like changing the head's position is standoff in climbing it forward. I always start my sketch with the head, since that will be my focal point in most of the artworks. And I then use some simple gesture analyzed to determine the body line and its position and then the position of the arms and the hair. Just generalized like this will help you create a flowy pose. Instead, the more rigid one, it will help you add movement to your drawing even if the overall pose is not an action pose. One thing that you will definitely not want to do in your portrait is to have rigid pose that will take the life out of character you are drawing. In the beginning. It will help a lot if you make a collection of poses for you to use, whether they are photos or other artworks. Just exercise the poses and nothing else. Draw free to six poses every day and concentrate on obtaining a nice movement in your post. Even if it's just a portrait. If you do this daily and they really mean daily. In 10 days, you'll see progress. Then in the next 10 days, you will notice that you are moving faster. And in another thin days you will start bending the original poses you want because you start gaining experience. I highly, highly recommend you to time yourself and the draw each posing for 30 seconds or one minute at max. So six poses like this will delete the really thick only six minutes of your life. And why is it great to only spend one minute on my sketch? Because you'll learn to prioritize the overall flow of the body that you seen in that one minute. With the most simple lines, you will stop wasting time on details and grow on to see as fast as possible. You will learn to be efficient. At first. You will most likely only have some stigma and that's all right. Draw those stigma with this much gesture as you can. Don't waste time erasing anything, exaggerate the curves that Bose give that stigma and more life than it ever had before. And after a few days of drawing stigma and you will start seeing that in those mere 60 seconds, you actually have blend time to draw the contour of the body as well. Draw some simple shapes that will resemble the torso, the waste, the arms and everything else. I remembered that this was one advice that I was given when I was drawing on paper only. And they put that off for a very, very long time because I felt it was a waste of time. My art was getting better anyway. So why waste time with some stigma when in reality, I wasted years of potential growth by not doing this. Because I decided to stick to what I knew, which really wasn't a lot. And I wasted tons trying to figure out the anatomy and Bose's by measuring proportions, by literally copying what they thought I was seeing. Back then. I was spending days on only one drawing, only one. Now I'm doing a rough sketch that I'm happy with in five to ten minutes and I jump into the liner. This was impossible back then because I was not trying to train my observation. I was training my ability to copy existing poses and the results were stiff. After I started doing gesture studies. It was like a new world opened to me. And whenever I Stuck with my art. I still go back to doing gesture studies. Another tip I have for you guys is about adding details to your portrait, specifically the face. I know that all beginner artists have issues with drawing the eyes. And I know we have all been there where we make a masterpiece of the first die. And then the second one looks like it was drawn by a 14 year-old kid. Some people think that you could hype the second guy behind the hair. Or if it's a portrait from the very front of the face, you just copy the first die, flip it horizontally, put it in the seconds I place. That is unnecessary and weird if you ask me. And they're sexually a simple method of drawing in both eyes. You start by making the lines of the face, the vertical one that's filled to show you the middle of the face and the weirdo nose and the multiple B and the horizontal one showing where the ice will be placed. Then you draw two ovals that will represent the sockets of your eyes. Don't waste too much time on making them perfect. They're offered they are, the better. They are. Only important for giving you an idea of the placement of the eyes and how big they will be like before. You will not waste time on details such as an iris or eyelashes or makeup or anything. Just the placement and the size. You can use the lasso tool to move them around. And I strongly recommend you flip your canvas so you can see you're drawing from a different perspective. And that way you will also see mistakes like maybe one eye socket is too small, converted the other, or one of them is too low compared to the other or anything like that. Move those ovals around until you are happy. Then, and only then will you start drawing the contour of the ice and added the details afterwards. After growing the bones in the face, I add some rough details of the clouds and the hair. For this drawing. I'm planning to use that slightly loose back of the criminal and the inorder to emphasize it, I will make the hair to be a pony tail. Here is a design element that you can use in order to enhance the movement of the body. So instead of making it fall down stiff, I'm giving it a bit of a bounce at the ends and that weight, it's a straight line of the ponytail, will look up the waitlist new to the S line at the end. Then make sure to add some bouncy hair strands so that the hair won't look perfect. The banks are quite important because they are the part of the hair that should frame the face as good as possible. I chose to emphasize the long, elegant line of the character with some long bands that will not cover my character's face. And it will also leave some room for the sun earrings as well. The last part of the sketch is trying to figure out the crown. And I'm trying to use simple lines and shapes to determine where I wanted to go with it. I know I want it to look like a sun. So I will just put down some ideas. I also use gold for this part, and I emphasize what else will be golden in the drawing. This breaking much sums up the sketch part of the class. Make sure you create your own sketch and put it in the assignment area. And that being null, what was easy and what did you struggle with? And let me know if the pointers I gave you were helpful or not. I will see you guys in the line art section. 4. Lineart: Hey guys, welcome back to the character portrait glass. When you have previously finalized the sketch that we are going to use. We've talked about grading the Bose using gesture lines, and we've talked about how to draw some line details like the eyes are for listening. Hopefully, you created your sketch or you will create the sketch and you upload it, or will upload it in the assignments section. That way, I will be able to take a loping give you some feedback than the ones who are struggling with the most. Now we are going to talk about another subject that gives headaches to artists everywhere and that is making journal liner look great. I heard a lot of work is complaining. Kitchen looking really organic and full of life and everything. But then when they jumped in the line art and the result looks stiff, lifeless, and nothing about the liner made them want to continue with the artwork. Does that sound like whew? Well, I know how that feels like. I used to feel like that when I first started digital art. I wouldn't be really in love with my sketch. And then my line art made me want to total tablet out the window. Now, obviously I didn't do that because it cost me money and because I didn't want to feel like digital art was too difficult for me to handle. And digital art shouldn't be too difficult to handle. Make it more difficult than it needs to be. Let's break it down and see what you can do about your line art in order to make it look better. First of all, I don't always say this, but the brush is important. I honestly wasted a lot of time and energy until I understood that in order to have a good liner, I needed the specific rush. You'll need a brush that can handle pressure. So if your hand is doing the light stroke and you are not applying too much pressure, the line needs to be thin. And when you apply the pressure, the line needs to be quick. There are a few rushes out. Third, that will do that. But the one I feel most comfortable with is the adjusted shale brush. From procreate, I slightly adjusted the original shale brush. And at the beginning of the video, I show you the specific menus where I adjusted the brush. So once I adjusted the shale brush, I can confidently say that I never had a bit thinner liner brush in my whole life. It works for me so well that I actually find pleasure in creating line arts. What you will see me doing this video, he's death. I will set the opacity sketch really low and create another layer above it. I used the adjusted shale brush to start going in on the line art. I usually start with the shape of the face, but I always draw the line of the eyes on a different layer. And that is because they usually intersect with other lines, such as the face or the hair. And it will later be easier to have them on separate layers. Because later in the process, we will activate the Alpha Lock on each liner and change the color of the line art to match the color of our character. But more about that later. Now something that you will need to be aware of is that you should vary your lines weight. That's why you need a pressure sensitive tablet. And the pressure sensitive brush. Line weight is used to indicate where the light and the dark areas will be. For instance, it will have the back of the head where the bony tail starts and that they RE all be in the dark. And you need the current lines over there. But you will use thinner lines on her face and on her chest because that's where the light will be heating. Of course, this is also a matter of where your light source will be. So you better established that as soon as possible. I will let you watch the rest of the line art video and make your own line art. And we will meet in the next part of the class where I will teach you about the grayscale method. 5. Grayscale: Hey guys, and welcome back to the character portrait class. In the last few steps, we finalized a sketch discussed about to gesture lines, about line weight and the bulk. My favorite Procreate line brush. And now we have all of our elements ready for us too. Coloring, but we will not do that. Wait, block. Yes, you heard me. We will not deal with depth just yet. Why? Because you are not ready for that yet. It's really easy to mess up the colors is a beginner since you don't know yet how to choose them to look good together. And that's mostly because of the temperature of the colors that you are choosing, but also because of the values. So I will teach you my methods to color your art better by first learning your values. What this means is that you will start by creating the shadows of your character in black and white. When I first started drawing, I was doing good on paper only in black and white because I wasn't confident enough to use colors. So without realizing they trained my values lot. And this helps when you will add color later. Because by doing the grayscale first, you will create a readable map of shadows and lights for your character. So now we have our character field with a light gray. As I said, this layer needs to be below your line art one, since you will need to see the lines that you've previously made. And because we have quite a few details drawn in our work, we will go back and select the spaces that need to be erased and clear before proceeding. Now we create the layer above this one and select the clipping mask option. What clipping mask dos is that the only shows you what you paint on this layer, which is above the pixels of the layer that you clip. This second one too. I hope it's not confusing. But basically, if I go in color something in the whitespace, the clipping mask won't show it. It's one way of easily coloring within your line art. We aren't going to use this layer to create our main shadows. We don't want to go into too much detail. Only a soft shadow is fine. Grab your airbrushed and depending on your light source, roughly forth in your shadows. As you can see, my light source is in the lower right. So that means the shadows will mean the left side of the drawing. I quickly block in those shadows without going into too much detail. You can set this layer on multiply mode, select the gray you used for the base and start creating shadows. If you are not sure where they will be, you can follow my example of establishing them. Once I have my main shadows block, then I use this module with an airbrush to make the shading of the and softer. I only smoke launch with an airbrush on the large shadows of the face, but will later add some texture and harder brushes. It's important to have variation in New York fixtures is the book airbrushing the whole thing or it will look really washed out. Now don't they finalize the basic face shadows? I will jump into what extra brush for this much tool. And my favorite brush for dad is the damp brush from the standard Procreate ones. I use this brush a lot when it comes to smudging because it creates a nice day or decline, especially in this drawing, I use it for everything else that's left. And all I have to do now is figure out where are the shadows will be. Now that we have figured out where our shadows are, we have one less thing to do before jumping into collars. We will group these two layers together. We duplicate the group and we flatten it. Basically, we are creating a copy of our values on one layer only. Then we will go into adjustments menu and modified this layer so it will become pink. Wiping because it will serve is the basal part. And schemas specially will look good if the grayscale will be changed to a red months before adding the colors. Play around with the curves are the color balance until they get to the sarin months. When you are done with this, you will be ready to jump into coloring. So I will see you there. 6. Base colors: Welcome back to the character portrait less. We previously went to my technique of creating the grayscale wife is useful and how the thermic into a pink, red than once before jumping into colors. I really hope you're following me so far and I hope that nothing I showed you was too complicated and I lost her somewhere along the way. Now in this module, we will take a look into layer modes and how we can use them in order to help us with our colors. So I created another layer above the pink and gray scale. Clip this to the grayscale and sift overly. I will need to choose orangeish color that will translate really well as a skin tone, one foot above the bass. So I use the lasso tool to create a quick selection of this Canon desktop, two different orange losses. I also erase the parts that don't need to be skin tones, like the eyes and eyebrows. Sometimes I feel like the overlay layer is not enough. So I'm doubling keeps the layer, set it to multiply and reduce the opacity to whatever I can see there is time in order to obtain the goods. Skin tone. After I'm satisfied with the skin color, I jumped into the hair color and for that I will make a new Multiply layer. I also clip it to the pink face and this thought on a small portion, some dark brown nonces. I chose that the saturated ground and then applies to the whole pair as shown before. I will also take the opportunity to fix SaaS model line art mistakes. Okay? Okay. Hello. Now I create a new layer in overlay mode to create the ice white. Be careful when you are using whites and blacks in your drawings because the absolutely must not be pure white or pure black. You'll have hundreds of shapes before reaching the extremes. So choose one of those. When you are done with the ice, you use the same overlay layer to put in the white of the clothes. Now I create the new Multiply layer to paint the eyes, implements the color you are using for the eyes is a lighter one, since this layer will go above a regular white one, respectively, the eyes wide Yvonne, light blue eyes will still need to be in multiply mode, otherwise they won't be too light. You can test and see what happens. So I chose a nice gold or her eyes, since I wanted gold accents in my whole painting. And they will the same gold card, the accessories as well. Okay. Now I choose a nice orange or the corner of the eyes and for the lips. As you can see, we are mostly using the same colors in our drawing. And it's best to limit your color palette to see how much you can do with calling the appeal colors. I use a monster of darker red for the criminal as well. I will use that to read for love the details of the crown as well. I will keep tweaking some of the smaller details and make sure everything is ready before I jump into the shading part, make sure you put in the work as well. This talk a lot of colors and tell me, right, thanking, you know, Varley and multiply multiple, get easier with time. So be patient and keep trying. And I will see you in the next module, geist. 7. Shading: Hey guys and welcome to the shading module. We have established our base colors in the previous video and we'll learn how to use Multiply and overlay in order to give a cohesive look to our illustration. And now we jump into shading and was hit by a surge of inspiration and wanted to give a nice red shade to the ends of my characters here. I use the selection tool for that and the clipping mask and putting some color. I kept playing with the adjustments in daylight. I felt like it was looking nice. And I figured that this would give some sort of a fire effect to the sun god, is that I'm depicting even if I never saw anyone do that for don't be afraid of trying new things and see how they look just like before we will make a group out of our base colors. We will duplicate it and we will flatten it. We want all of our colors to be on the same layer right now, but we keep the other group in case we need to return to that point in time. As a beginner, it's wise to keep some backups in case something goes wrong along the way. As you can see, conveying ideas that you've come up with along the way. Oh, so even if you did not blend it, you will have no problem implement the get. In my case, after I marched all the base colors into a single layer, I simply made the new one, selected the ribosome interest and added some red. We tried them blended along the hairline. Now we start creating multiple hidden layers and adding darker shades where necessary. Remember, my light source is in the lower right corner of the art works on my left side will be in the shades. I use a purple color to create the cold shape because one of the fundamentals of shading and lighting is to use contrasts. Use cold shading against warm light pink. So instead of using the red of the criminal for machine, I'm using purple and the multiplying mold will make it look for. When shaping. It's a good idea to draw the shape of the shadows which you can blend or not, or bolt. Having variation of soft lines and polylines can rate further visual interests. But right now I'm looking for a soft shading, which I mean by blending the edges with my damp brush from the inking section of brushes that procreate offers. Drawing the shape of the shadow first, as you are lethal to think about the shape that you are trying to shape. The same way that you wouldn't shade a sphere with straight lines. You won't shade straight hair with the circular motion. You always need to follow the forms that we're shading. If any fees start with something that is 2D, respectably an outline drawing or line art. The freaky aspect will come from your shading. You need to make sure that you are portraying the forms correctly. This in itself might become a separate class on my channel and in the future. For the white part of the chemo, I wanted to have a silky textures so I will shade it with the ribbon technique and using gross chance painterly brush from his essentials package. If you haven't heard of the ribbon technique, I described it in one of the free resources of this class. Using the same purple, I go around the drawing and create shading where necessary. The eyes on the hair, on the side of the face. And then I blend the coolness of the purple shadow looks especially while on this drawing, which has mainly shades of red and yellow. Now with a smaller brush, we can work from the side of the face that's more in the shadows. The light is coming from the right. So the nulls will cast a shadow on the cheek. And this shade of the nulls will contribute to forming the small triangle shape of light on the cheek that you might have seen in many drawings or four bills before. This is called the Rembrandt batch. This triangle is the result of the Vermont light, which is a standard side lighting. They need from two angles, a lower and the higher one, which is commonly using photography and cinematography. What do you need to know when you apply it in your drawings is that the triangle should be no longer than the nose and no white there in the eye. I also included a small demonstration of this type of lighting in the resources of this class. Now we will clean the hair lethal from the X's shading of the face and start shading the hair. Since we are using layer for shaking, we can use the lighter color to create shapes. I'm using the light pink because on the multiplying layer, it will look like a brown, darker than the hairs this column. Then what you need to do is create the flow of the hair. Make the strokes of paint in the direction that the hair is flowing in. In my case, I have a bony tail and banks. So the banks and the ponytail will have long, almost straight lines. While the bark of the hair that this old Op will have a more circular motion going up to where the Harris died. Basically, over here, you are following the head shape. After putting in these brushstrokes, I generally shape using the painterly brush in order to create the hair texture. It's important to remember when drawing deaf heroin that you must not draw every individual hair, but you have to give the impression of that hair texture. And you do that by grading the beak shape of the hair first. And then using this method to create the idea of hair strands in different shadings. Now I'm going to create the makeup. I saw that Japanese often use red or DIE makeup and since it will do go really well, color palette, I want to replicate that. I intentionally left the eyes with no eyelashes for now so I can create the makeup and then adds the lashes. Now it's time to clean up the crown and shade the little. Unfortunately, the crummy still small to create an interesting gold texture. But I hope that in the future I will be able to exemplify how to draw gold on bigger items. For now, we will use the basics, which means creating almost brown shadows. And later we will contrast them with a really bright yellow glow. The essence of drawing boldest, a great, powerful contrasts. We will use the same grown to create the shading of the iris. Sees her eyes are also golden in my portrait. I blocked the upper side of the artist in a reverse you motion in order to go around the shape that I'm painting. Afterwards, I will blend it a little with a gold that is a base color. And I will ask the pupil first, Molly, I don't like making this part black. Why use instead the dark color from the color palette of the ice? Now it's time for a pro tip. Although I always start my drawings with the line art, I don't want it to be extremely visible Indian result. So what I do is I go back to my line art layers. I activate the Alpha Lock. And for each section of the line art, I choose the color next to it using the color picker. You probably already know this, but you can tap and hold a drawing with your finger and select whichever color you need directly from the drawing. Cases like the skin, the color will be slightly darker. You go around the trawling and color your line art from more finished look. You will always do this after the initial shading because otherwise you're aligned will be lighter than your shadows and it won't look as good. Now all we have to do is duplicate the group of shadings that will keep the group of Leinhardt, flatten that tilde duplicated groups and merge them together. If necessary, you can play around modifying the colors in curves are in color balance until we feel like the colors look better. We will use this layer in our next stage, which is the lighting face. Don't forget to put in the work and then we'll see you guys in the next part. 8. Lighting: Hey guys and welcome back to the character warship glass. Until now we've covered the foundation of the drawing. We look in the values, we chose our base colors and learn how to shape. And now we get to the best art, the lights. I always feel like when I'm stuck with the shading, like I don't know what else to add or where. That's the the perfect time to get to lighting because it will offer a completely different perspective on the whole piece. Your eyes will be refreshed by something new. And you will keep wanting to tweet through brawling some more. So there are a few things you need to know about this space. First of all, the layer modes are used the most in this part are colored dodge, Overlay and add. I use overlay and color dodge alternatively, in the beginning phases to establish the light source and the temperature of the light, and to cover bigger portions of the light and sit in the mood. It doesn't really matter which one of the modes it is. Sometimes one works, but there have been the other, in my opinion, based on your drawing. If you are not sure where to put the light, you can always search for lighting references online and try to understand how they work, what kind of shadows they form in the blood them to your own drawing. My choice of a light source in this piece is not really complicated, and I have already done it a lot of times before. So I know that I need to light the right side of the drawing. Same is for the shading. You need to think about the form on their 10k, your lights and the material. Some materials will shine brighter, like the gold in this case in somewhere else. Last because they are not the reflective material, like the clothes. And the Harris, probably my most favorite. Their reality, me the hair feeling that they want the banks will shine the words the middle and by usually block in a few streets of light and then blend it with Ross's painterly brush. I chose some warm lights for this piece because I used cold shadows in the previous part. And as I said, then old shadows and warm lights create the rate contrast. As I mentioned before, the gold will shine that bright because in this hard work with the beers under the form of jewelry. So the material is really polished and reflective. Now I want to show you one of my favorite tricks or lights. Grab a hard brush, bolt the brush and the eraser. Make individual tabs along the light parts of the hair and didn't grab the eraser brush and create a texture. This creates texture and the sense of that, because the point is to remain with the PRT fixture line that essentially shows the volume of the bark you are working on. When you are done, adjust the opacity of the layer so it won't be too bright. Yeah. After Beth, I always make a new layer and put it on the add mode. I grab my shale brush, choose a light color and paint a few, highlight its tricks. We tried then blend with the painterly brush. This creates a lot of contrast, especially on a darker hair. Only have to do after that in order to finish the hair is to make them normal layer. Keep using the shale brush and color, pick some lighter colors, then some darker colors from the hair and draw a few longer hairs trends. This gives the impression of a really detailed here. Although you didn't waste time painting every single hair strand. Also on the adds a layer. I keep creating some way in life on the edges of the crown. I bring different accents in various places to create more visual interest. Try not to overdo this phase. Is it really become too much or the viewer size. All right, so we've broken lacZ and got our lights in place. Now something important to remember is that in order to make your illustration better, you need to darken your darks in life and newer lights. What that means is that you need to create contrast. We concentrated on the lives are a while now. So now it feels like illustration needs some more contrast. So I made them you multiply layer. And I start by adding a few really dark portions in the hair and blend them in. As you can see, the light looks even better now that we have some contrast. I often get stuck somewhere around the lighting. Barth, and I feel like the illustration looks good, but something is missing. And that's something most of the times is the contrast. So don't be afraid to add more of that before considering your illustration finished. Contrast isn't needed only in the hair, but the other parts of the illustration as well, such as the face and the clothes. For the face, we use a desaturated skin color, which translates almost in a brown color on her face. This puts a lot of accent on the shadows on her face and her eyes stand out even more now because the ISR by default, the bark with the most contrast on her face. And now we are adding even more of that. Okay? So while we're illustration is getting closer to its final stages, and now we add some nice details that will make it stand out even more with the shale brush. On a normal year, we add some extra hair strands that are slightly out of place. And the Impressionist movement of dynamism. And it never hurts to add the fewest translate these tried to match their colors with where you are positioning them. Then to give a killer look, we add the eyelashes. Yes. The bark that I have personally waited for for a really long time. I told you when I was joined her makeup that I want to leave this part for Dan because it's something that will definitely boost your illustration. I also strengthen the shadows around her eyes some more. All right, So last thing to add the front, this bark is over. It always gives some really fresh look through it. It makes your character looks young and healthy. But careful not to choose too much of a saturated color so you will not ruin the balance that you have right now. We are pretty much done here. So I will meet you guys in the final part. The finishing details. Can't wait to show you what else you can do from this point on. 9. Finishing touches: Welcome back to the last part of a character portrait class. I know that after the last part that them deviation of considering it done is big. Let's remember, there is always more that you can do. I have a few favorite go-to techniques to wrap up the illustration, and I will show you some of them. First, we need to have the illustration on a single layer so things will be easier. First of all, I have always play around with curves and see how different settings we'll look on my illustration. And sometimes you can spend a lot of time on this part until you are satisfied. And the other times you just go back to what you had before. A second favorite trick of minus to take advantage of the Gradient option is appropriate. It's a little different from father shop since it creates a gradient out of your existing colors. So make sure you duplicate your layer before activating the gradients later around and chose more of their preset options, and then play around with the layer's opacity. Make sure it is gradient layer is above your previously or with the illustration. This Greg employer has a sole purpose of giving the thing to your existing illustration. Hence why we are playing with its opacity. You can also erase any bits that you don't like and only keep a few parts of the gradient layer. I often create more than one layer with gradients and combine them in order to get the new one better the result. At this point, I also reinforce the rim lights on lethal since they have been toned down by the gradients. What I do now we say grab the airbrush and the purest light there is. And I softly, what only softly Minik parts of the illustration like the ends of the hair or the side of her body. So you can keep this layer on the normal mode or within ad for some extra globe, It's up to you and the result that you want. Another thing that you can do is to add some movement. I usually select some of the extremities, like the hairs ends, select them with a feather selection and activate the movement blur. Also, I recently started making a few small details, sometimes maybe not even noticeable. With the chromatic aberration tool. I select the pencil version and create some colorful details in various places until I find that satisfying. And knocks tube detail or having too many details. This is breaking much every final detail that I add. Before boasting my work on social media, I have a few closing words in the next video. So I hope you will be there. 10. Final words: Congratulations for finishing the class guys. You aren't the real heroes. You may do a step further in your art journey and I'm really happy I was there with you. I hope you liked this class. I hope that it was easy to understand and that you will apply it to your own art. Please don't forget to post your work in the project section, whether it's your work in progress or the final work, I'm going to give feedback to as many of you as possible. I would like to give a feedback to every single one of you. I'm really excited to see your work. I hope you guys will keep creating. And if you liked this class, please leave a review and recommend it to your friends. If you recommend it, it helps me a lot to reach more people and sure enough, skills that I have learned over the years. Also, please follow me on Skillshare so you can be updated whenever I have new classes, I will try to create monthly classes for you guys while we're here. So keeping touch, stay safe, and keep learning. Bye guys.