Transcripts
1. Class Intro: Hi there. My name is Attabeira and I'm one-line illustrator. My work is divided into two main groups: one, is realistic one-line portraits, and the second is abstract one-line illustrations. I do these in the app Procreate on iPad. My artwork has a consistent style and look. This year, I've completed over 100 one-line portrait commissions with very positive feedback from my clients. In this class, you'll learn to create realistic looking one-line portraits using a photo as reference. By the end of this class, you'll be able to create gifts or custom drawings that are unique and personal. New drawing skills can take years to master, but this course helps you master this one quickly by offering new tips and tricks I learned over the years. I'll start by teaching him how how to choose the right photo you'll be using as reference and why it is relevant to the whole drawing itself. Then I'll be showing you how to approach your line works so your subject looks both recognizable and aesthetically pleasing. In case you're wondering who I am. I was born in the Dominican Republic into a family of artists and although I am based and have my studio in Northern Poland, I travel part-time on my self-made camper, which allows me to explore and create from the world around me. The skills I'm going to teach you have been tried and tested over hundreds of artworks with clients from all over the world. I can't wait to get started with you. See you in our first lesson.
2. Class Project: Glad to see you here. For this class project, we'll be creating realistic one line portrait of our family members. I will be teaching you how to draw babies, how to draw children, how to draw older people, and how to draw women and men. I chose this project because it could be a very interesting addition to your services as an artistic business. But also because it could also be a fun way to create an artistic gift for loved ones. I recommend this class for people who are intermediates and also for beginners who are looking for a challenge. For this particular project it would be useful if students have some prior knowledge of the app, Procreate. Don't worry too much if you don't because the tools I use are simple enough that you can learn on the go. In order to get started, please download the project files I attached below. You will find there some photos we will be using as reference. Feel free to use photos of your own family members if you want to. Just bear in mind that it's important that they have a similar head positions to the ones we'll be using in the course. Last but not least, I encourage you to share on the project gallery for me to be able to give you feedback on your progress. See you in the next lesson.
3. How to Choose the Right Photo: We will start with how to choose the right photo and why it is so important to the whole drawing itself. We will discuss what makes the photo ideal for the kind of drawing that you want to make. In this case, a portrait that looks realistic, a portrait that looks exactly like the person you are trying to draw. Let's dive right in. Why is the photo you choose so important? Well, you can either make the drawing easy or difficult. Depending on the position of your subject, depending on the amount of light, depending on the clarity of the photo, you will have an easy time or difficult time drawing your actual portrait. It's very difficult to choose a photo and to see a photo and know right off the bat without any purposeful insight into what makes a good photo and just say, "This photo is perfect. I'm choosing this photo, I'm going to be drawing it." We are going to be going through the key things I look for when I choose a photo for a portrait because it's going to make it so much easier for you to learn to do this by yourself. Choosing a good photo will also determine if the subject will look like itself. Sometimes we are going to be doing one-line drawings using a photo as reference, and then when you toggle the photo off or when you take your reference photo away, you will notice that the drawing doesn't look like the person at all. This is because there are tricks and ways to make your subject look more recognizable and the photo that you choose either makes that possible or doesn't make it possible. It's very important to choose the right photo for this matter as well. The photo you choose will also determine the level of difficulty, meaning it is possible to do a one-line drawing from a photo that is a bit off and sometimes you have to because the client has a very intimate attachment to a photo. For example, a photo of your first bike ride or a photo of your birthday that you've spent with a family member or the last photo that you have with your grandmother. There are photos that are just special, they're just special, and we really want to just have that particular photo. Even if it's not ideal for one-line drawing, you can make it happen. It's just that it requires higher level of expertise when doing one-line drawings, and for this purpose, it's just not at the level that we would like it to be. Now, let's dive into what makes a photo a good photo. First, position. It really depends on how your subject is facing the camera. For example, if your subject is on the left as in on the side or on the right on the side, if your subject is three-fourths, so slightly looking off the camera but not entirely underside, and if your subject is facing front, or if your subject is facing up, or if your subject is facing down. It is very important that we choose a photo that we have familiarity with its position. I'm going to dive more into this. The photo that we will be doing in this course is a front-facing photo. Why? Because it's the photo that we as humans can see and can imagine the most, the more often. Kids, when kids draw, usually draw a front-facing photo. When toddlers draw, they imagine two eyes facing front, a nose, and a mouth. So we are going to be looking and we're going to be trying to make drawings, portraits of people who are looking front because it's the most simple and straightforward way of getting started with realistic portraits. Lighting. Lighting is so important. Lighting might determine where your line goes, where you want to put your highlights, your low lights. The way that lights hit the face tells us a lot about a person. If a person has high cheeks or low cheeks, it really lets us know information about that face. If the photo is not well-lit, then we don't have as much information and it's going to be rather difficult to remember that person's face from memory. That's why we're using a reference photo. Hairdo. Yes, hairdo is important. People that have very characteristic hair like me, the way they look is defined by their hair. For some people, it's not really relevant. They're defined by other features in their faces, which means that when we draw them, we want to have that feature that makes him special as clear as possible. In my case, having hair on my face is not a big deal because hair is such a particular part of how I look. But if someone has big dimples or has very big bright eyes or very big, brown, sad eyes, it's really important that the hairdo is not hiding those traits that make that person recognizable. When you choose a photo, you have to bear in mind what is it that you're looking for. That's why I say visibility after hairdo. I have visibility of facial features. The facial features that we're trying to enhance that show who that person is visually have to be clear on the photo that you use as reference. In order for that person to be recognizable, you want the facial features to be visible. Last but not least, purpose. Like I said, sometimes our portrait is not with the purpose of recognizing a person. Our portrait is with the purpose of highlighting something that that person has. It happens a lot when I'm making logos for companies that do lip work or that do eyebrow work, for example, and they want that particular feature to be the most recognizable. Sometimes I'm going to choose a photo that doesn't really show the hair or that doesn't really show the mouth, but that shows the eyebrows because it's what I'm trying to focus on and what I want to shine through in my drawing. So just keep those things in mind when choosing a photo. If you are going to be working with photos of your own, I attached photos of my family members for you to use along with me, but I strongly encourage you to use photos of your family members because it is the faces we best know. So if you want to stop the video, go ahead and stop the video and get going in choosing your photos and go through this checklist and check that your subjects or people that you choose to draw are in a good position in this photo, that they have good lighting, that they have a hairdo that pays tribute to the way that they look, and that their facial features are visible, and that the purpose of this photo is clearly stated and visible on this photo that you choose. Go ahead, Ali. Okay. If you decided to go with the photos that I'm using, the photos that I've provided, I want to explain to you why I chose them and why they make good photos. In the photo of myself, as you noticed I have hair on my face. This is the only one that I am allowing with hair on my face. Why? Because my hair is very particular and I wanted to be in the drawing because people spot me right away, spot that that's me when I draw myself with hair out. So definitely choosing a photo that I'm facing front, my eyes are visible, my nose is facing front, and my mouth is visible as well. For my husband's face, I chose this photo because facial hair is, in my opinion, one of the most difficult things to portray. In this photo, he has a clear division of where his beard ends like the front of his beard, the part that's closest to the camera, and his neck part. I like it that he's facing forward. His chin is slightly up, but you can still see his eyes very well, his nose, and his mouth. My boy, Ky, he's facing front and he's very clearly visible. He's faced as well, and my [inaudible] as well. Our grandma is also facing front and very visible. One thing that you might have noticed is that all of them are not showing their teeth. Teeth are harder to draw. They're a bit more of an advanced level. So if you want, go ahead and choose photos of people that are smiling, but not showing their teeth or just showing the first row of their teeth. That's also easy to draw. All right, now onto drawing. See you in the next class.
4. Drawing Babies : So I'm going to get started with drawing babies. Were going to get started with the photo micro AMA. I'm going to show you very quickly how I import photos, how I prepare for my drawing. I'm going to do this with my first two drawings that I show you. The first two drawings will be the girl and the boy, the baby and the child. I will only do this twice because it's very repetitive. Then I'm going to show you just the actual drawing. So I'm going to go ahead and show you how this looks like. Basically, you go to your tools up here, and then you choose Add. On Add, you choose Insert a Photo. You look for the photo you want, and you choose the photo you will be working with. I usually like to work vertically. But for this purpose I'm just going to leave it horizontal. When you use the selector tool here on the top, you can make your photo bigger, the size that you want it to be on the paper. Once you've done that, you can un-click it for it to lock. It stays on the paper now, the way you want it to look. Then we will go on to the layers and make the layer of the photo itself transparent, so that you can use it as a guide, but it doesn't really bother you when you're drawing. So you click on this N here on the side. I suggest toggling it to 50 percent or 30. I think 37, 39. It usually depends on how the photo is lit. If it's very dark, I make it less transparent to the level you feel comfortable is okay. Then I'm going to make another layer on top of it, so that I can draw and then delete the bottom photo that I'm using as an example, as a reference. Then I'm going to choose color black. I like to draw in black over white because I feel like it looks simpler and more minimalistic and that's my style. But if you want to draw it over color or draw the line in a different color, it's up to you. I use the pen syrup. It's one of the pens that come with Procreate. So you don't have to buy a series of pens or wherever. I really like syrup. I use other ones as well. But you can check that out on my first course. Syrup. I like my brush at around 20. But that also depends on the size of your canvas. I'm using the biggest maximum canvas on Procreate because I like to be able to print the photo or the drawing in whatever size I feel like. Printing it in. I don't want to be limited by the size of my drawing. So if you want to jot that down, the size I'm using is 8,196 by 6,144 pixels. It's the biggest canvas that my iPad Pro allows me to use. So I like it. Let's get drawing. The first thing I'm going to do is starting on the outside. I really like to start away from the face. So I choose shoulders mostly. I'm going to go here and I'm going to outline her shoulder. I recommend this method because I draw in strokes. I don't necessarily recommend drawing in one stroke for everyone because you don't want to miss those tiny little details in the person's face, those features that make them unique. One thing that I don't like when I'm working in strokes is when the line doesn't match. I'm going to go in there and make that line as smooth as possible. Same here, smooth as possible, the tiniest detail. See how they don't match in this area. I'm just going to go in with my eraser, make it smaller, and make the lines as continuous as possible. So now, we toggle and here she is. We have our baby drawing. Please, in your projects, in the project section, upload your trials. I'm dying to see what you come up with.
5. Drawing children : Like I said in the first lesson, I will be working with the whole process of how I insert a photo, how I change the visibility, and how I do pretty much all of the setup in procreate before I get started with the drawing. But I will not repeat that for my next three drawings. I think it's fairly easy and you will be able to see it in the last lesson, in this lesson, and that should be enough. Let's get started. one more time, I'm using the same format I was using on the last lesson. This is the same sizing, what I mean when I say format. I will repeat that just in case you didn't manage to write it down. I am using 8,196 pixels by 6,144 pixels. I do that because I don't like to have limitations when I want to print the work that I draw. To get started and to insert the photo, I will be using as reference. You click, "Add" in the Actions button. Actions first, add, insert a photo. You look for the photo that you will be working with, and you choose your child photo. Unlike the baby photo, children have already some cheekbones to show for it. We will be drawing those. But the process is fairly the same. We go onto the layers button right next to the color button, and we click on the "Opacity." Do this until you feel comfortable with the amount of visibility of the photo that you're using as reference. I think I like to go 50 percent or below depending on the brightness of the photo, and then you're going to make another layer. This layer is the layer that you will be drawing on so that you can delete the photo and the drawing is not affected. It's very important you make a new layer because if not, you will be drawing on the photo and that's not what we want to do. I have too many lines. Notice how I have too many lines here, and it makes him look old. Children have very soft faces. They don't have these many lines on their face. The more lines you draw, the more old the person looks. So you don't want to do that. I don't like how this looks, so I'm going to restructure my drawing. Again, feel free to do this as much as you need to. Every person's face is different, and you can approach it from many different places. I'm going to approach it the same way I approached the baby face in the first class. I don't like how this bit of hair came out here. Feel free to delete any strokes. I don't know if I'm saying this enough. Feel free to delete any strokes you have to delete. Really, is just something I do so much. People think that it's a magic power that I have of drawing people in a way that they look so similar. I delete and redo a lot and you should too. Are we ready? It's time for the reveal, 3, 2, 1. Sorry. In order to take your photo off, you have to go to Layers, click on Layers, and uncheck the box from the layer that has your photo and click. There he is. One-line photo of a child. See you in the next lesson.
6. Drawing Women: All right. So here we go. We're going to start drawing the woman. How I draw women portraits. I've already gone through all the steps that I explained in lesson 1, lesson 2 for inserting, tackling the visibility, and making new layers to get my drawing started. So I'm just going to go ahead and get started. You guessed it. First step, we start on the shoulder. It's just something that makes it look attractive. So we're going to the neck. Again, I'm going to go into the chin and into the lip. You might be wondering why I decided to make different lessons for women, children, and why I decided to show how to draw them differently if they all begin at the shoulder, if they all go into the chin. They don't always go this way. I'm doing this because it's a good formula that you can follow in case you're feeling uneasy. But also because women, men, and older people have different tricks to them. Especially around the eyes, especially when it comes to wrinkles, and the way we show age in the face. So don't get desperate on me, I'm going to explain it. Instead of just making a regular line, I'm going to show you the difference. I'm actually going to make one wrong and one right, just so that you guys see. You would normally just do the eye like we did with the babies, right? Then when it comes to the eye, just for the sake of explanation, I'm just going to do this one. Okay. Look at this guys. If you look at this, look at those eyes. One, I'm going to make the circles so that you guys see the whole difference. One looks very feminine, the one on the right, and the second one looks nice, but not as feminine. So I'm just going to go in here and make that line nice and thick. It just makes it look like I'm wearing makeup. There you go. Areyou guys ready? Let's see. I think it looks like me. What do you guys think? Let me know in the comments below. All right. Let's move on to the next lesson. See you in the next class.
7. Drawing Men: All right guys. We are going to be working with men now, and the way they look. Remember the situation with the eyes that I told you before, when it comes to women? The fact that we have to make the line thicker so that it looks more feminine is exactly the opposite with men. When it comes to their eyes, we want to make their line thinner because it's going to make them look more masculine. Thicker lines make things more visible, and that's exactly what makeup does, that's exactly why we have eyeliners, and you don't want to put that into men unless that's your choice, and that's what you want to do. Now beards, so important. Like I said, beards are on a more difficult level. You can do a beard as long as it's clearly separated from the depth. I'm going to cheat a bit here. When there are objects on a face that are just not easy to work with, like beards, I suggest you take a line as long as you join it in and out. As you join it into something and back into the line, so you can't leave it hanging. Draw whatever you need to draw outside of your line work. It looks like it is one line, but it was more simple for you to incorporate it. Feel free to take those liberties because it's all about the final product, not about the way you got it done. Are you guys ready? Three, two, one, here's our guy. Moving on, drawing older people, it's our next lesson, so see you guys there.
8. Drawing Older People: Hi, we are on to our last two lessons. First one that we're going to go through is drawing older people, let's do that. As you noticed, I have already set up my photo, changed my opacity, opened a new layer, and we're going to move on to drawing older people. We have our usual start, we start in the shoulder. Here I would advise to get started with the chin. Older people have more difficult lines to follow. It's difficult to see depth. It's difficult to decide which lines of the face we're going to choose as we draw. One thing I suggest is try to remember the other steps that we did for adults and kids and try to follow that within the possibilities of that older person's face and also let your lines wave a bit. Are you guys ready? 3, 2, 1.
9. Drawing people with glasses: We're going to be learning how to draw one line portraits of people that are wearing glasses in the photo. Reading glasses are particularly tricky because you need to know in which way to draw the line in order for the eye to not look too crowded, in order for the line to go into the eye and then back to the frame and then back to the face. Let's get right to it. We're going to insert a photo. We're going to go and choose a photo that I've provided in the resource materials below. Remember to lower your opacity so that you can be working with your reference photo without bothering the way that you look at your drawing and now, make sure you have your brush correctly and your color correctly. Now, we're going to get started with the line of the face. Sorry, did I make a new layer? Yes. Guys, remember to make a new layer. I'm going to start with her jawline and go about the lips like I mentioned before. I'm going to make her nose. I would like to make her nose little different. Up to this point, everything is little similar. I'm going to go in here, too big. I'm going to go in here and just make her nose a little straighter. This is a big brush. Make it a little smaller, smaller even, there you go. That looks good. This is an important moment because now you start going into the glasses, so what happens here is the following: we're going to go into the glasses bridge and into the frame. You guys have to think of the frame as a structure that has more than one line in it, so I always go twice. Too much, still too big. Remember the connecting parts and into the eye. I don't want it to be too spiral, I want the glasses to end within the glasses frame and then I can get into the eye and back into the face. I always finish the eye and slowly take the eye line into the face line, like I do here so that the transition between the frame to the eye and the eye to the frame to the face is as smooth as possible. I would actually like her glasses to have a little bit more thickness, so not just one line. I'm going to go here and I'm going to break this line and make a double line so that it looks like a frame. One more time. Just very thin frames, so that's what I'm going for. Don't forget to close your line here. Don't forget to close this area of your line because then the transition between the frame and the eye will look a little off. That's the first part and now we go onto her hair. Too much. I'm going to go into her next glass, the left side of her glasses, sorry. I'm going to make sure I draw the side of her glasses, so the leg, and then the same process. First the circle, then the outside frame, which is what I forgot last time, so the inside line of that frame and then into the eye. If you notice, her eyeliner goes beyond the glasses here and if I make it like I made it before, it will look too small compared to the other one, so I do want to get out there too. I want to go like this and into her eyes so that it looks realistic and even because her other eyeliner is pretty big, so if you notice, it matches. I'm going to go here and back into that lens frame there, and into her eyebrow, and back into her hair. Too much. Here we go, then this way and there you go. No, I don't like that shape, yes, still, here we go and onto her hair and onto her forehead and onto her left eyebrow and the end of her eye, so here we are. Sorry, I forgot about her neckline, just going to go in there and add her neckline and fix her hair a bit here because I feel I didn't go as much as I should have gone. Her hair feels a little empty. Second, minor fixes here and there. Notice how her hair goes a bit very close to her jawline, I'm just going to mimic that. Here she is and we have a person with glasses. If you want to still make the cheek definition within this drawing, you can still do the same thing. It will not affect your glasses, but I do suggest you try a different type of cheek highlight. Instead of doing the triangle one that we've done before, I would just suggest doing the one that's going inside, so I'm going to duplicate this layer just to show you what I mean. I'm going to make sure that they are so visible. Our drawing was like this with this jawline here. What I'm going to do is that I'm going to go inside and then down and then back up. No, too prominent. There's still some cheek definition but I feel like the cheek definition is less needed when you have glasses because then the face becomes too crowded and that's it. This is how you draw people with glasses.
10. Drawing people showing teeth: Hi, we're going to be learning how to draw one line portraits of people that are smiling. We are going to be looking at the easiest, most simple way to draw teeth without making the mouth too crowded, without making the mouth full of lines, and without making our subjects look scary. When I started drawing in this style, I found that I struggled a lot with drawing people that were smiling with their teeth out. It was because I tried to draw every single tooth with a full line. I'm going to teach you right now how I go about drawing smiles without making it look weird, just natural. Let's get right to it. We are going to get started with drawing people with teeth out when they smile. Just make sure that you have a new layer when you start drawing. I can repeat that enough. Insert your photo, your reference photo, make sure it's big. Work with your opacity so that you can see your reference photo, but it doesn't interfere with your drawing. Make sure that you have your second layer. Okay, great. Now, we're going to get started in the usual way. We're going to start with the ear, going to her jawline. Now we are going to go into the lip. Now, I'm going to do this process really slow so I make sure that all of us understand what is it that we're trying to achieve here. Once you go into your mouth, she has a half-smile. Let me know in the comments or let me know in your projects if you guys want me to do one specific for full smiles, but it's the same process, so it should be deducible, easy to deduce. I have her lips done. Here we have to trick it a little bit. I'm going to close these lips. After you've done the lips, it's really important that you make sure that the lips are not cutting off the teeth because even though the lips cover the smile, it's going to look a bit off if your teeth are not completely visible. You either have all top teeth visible, all the way from the top to the bottom is what I mean. In this direction or you have all the teeth visible bottom and top if you have a full smiling mouth. All teeth outside, like I smile. This is the trick. The way that it goes is that I never, very rarely, I can't remember of a moment that I did it continuing the line. I always do it outside of my line work. I go in and look at the last tooth that is usually with the black empty space here and look at the last tooth and I draw it. The last tooth is usually higher up because of the angle in which we see the smile but I never draw the lines in between teeth. I always draw this line and it goes swiftly into the teeth, so not in a straight line here. Then I go and down and I go in a tiny bit into the division like this but I don't go all the way in. I don't want that to happen because then I will have too many lines. I do the same thing here, too much. I do the same thing here. Unless I have people with teeth that are very separate apart and the lines are very, very clearly divided. I just go in a tiny bit. I go in one tiny bit. See here, my lip goes up too much and doesn't show her tooth. I'm sorry if that's not very visible, I'm going to make this photo less opaque. My lip goes down too much and I want to see her tooth. I'm going to go like this and like this. Wait a second, I'm just going to change the whole line it's too thick. I'm going to go back, make my pencil smaller. You don't want your lines to be very strong, the outside lines is fine because the outside lines don't interact with other lines. You don't have a problem really with making them thicker. But now I have my lip line a bit lower and I go back to my teeth and I go in and work with that smile by putting in the line just a tiny bit. I do the same here and here. If you notice, her smile goes straight up because of the angle at which her face is position. I'm just going to go and mimic exactly that. Now there are people who show their gums when they are smiling. Some people have bigger gums than others. Depending on how much gum is showing, I would probably do the top as well. She has some gum showing some going to go in and mimic that as well. I'm going to go in like this. From the top. From the top. Just a tiny bit. Just a tiny bit. Just a tiny bit, and just a tiny bit. Her smile looks very similar to what her smile looks like. Again, I do this outside of my line work. I found that it works pretty well. I'm going to go into her dimples. I like to create some line there, bit thinner. I'll go in there later. I'm going to go into her nose. Make sure you go in and refresh all your line connections like always so that these connections aren't too visible. This is how you draw, wait one second, let me do this. Not going to lose too much time on these ones because you can always go back to that lesson. But here it is, one line one of a person smiling. Make sure you follow those little cues from the reference photo. How you end your line in these areas and in these areas matters a lot. Remember always to never make lines in between her teeth. If you make lines in between her teeth it's going to look really, really crowded. Really crowded. Yes, here it is. I really hope it helps.
11. A Family Photo Made from Several Portraits: Okay, this is our last lesson. One thing I do get as a request very, very often is, how can you make a one-line drawing from different photos put together? Sometimes they have nice individual photos, but they don't have a photo together as a family in which they all look nice. So this is something I offer a lot as a service and something that I get requested to do very often. I decided to show you guys how I approach this dilemma. I choose the photos that I'm going to be using. In this case, I'll be using the same photos we used for the course. I'm going to follow the same step of importing and inserting a photo into Procreate and I'm going to insert a photo. One second. I think I need to use a smaller canvas. Let's go with this one. This canvas that I'm using just so that your pen works the same way is going to be 5,000 by 4,096 pixels. That's 5,000 and 4,096 pixels. All right. I will insert ad, insert a photo, and I'm going to choose the photos I want to use. So I'm going to use photo of him. I'm going to take that and move it here, then I'm going to insert a photo of me. I'm going to take that and move it here. I'm going to insert a photo of the kids. I'm going to put that here and I'm going to insert a photo of my other child and I'm going to put that here. Okay. So if you notice, all four photos are very different and they are important in different layers. So what I'm going to do is I'm going to take this S-like symbol here, I'm going to click it, and I'm going to select freehand. On the top here, freehand. I am going to choose a layer, so the child, my boy, and I'm going to cut him out. Sorry. This stops being selected when you select layer, so you have to select it after you select a layer. So you're going to cut him out, it's like a cut tool. You're going to cut him out from it. You select it, you go to the actions, and then you cut, then you paste. So you paste this section you did and you delete the other layer that is remaining there from the photo that you just cropped. I'm going to do the same, so that is selection tool. Sorry, I'm going to select the photo first, selection tool, and then I'm going to cut my girl out of the photo. I select it, I cut her off. I delete that layer where she was and I paste only her face here. I'm going to do the same. Sorry, I have to select the layer first. Remember, always select the layer first guys. Apparently, I can't remember but we have to. So I cut myself off. I'm going to fix that because I think I left my shoulders off. I'm going to cut, I'm going to paste, and I'm going to delete. Last but not least, my husband. I selected him on the layer, and I cut him out, and I paste, and then I delete the remaining of the photo. So we have four people. Their heads are completely different sizes. So I take each layer, so each of our photos, and I make them a bit bigger or a bit smaller depending on what's necessary. Her photo is okay. I think my daughter's photo doesn't need to be resized. This is how she looks like. She's not that tiny, she's like this big. My son's photo is the smallest, so I have to make it bigger. Now we're talking, okay. Sorry. Now I want to make a nice composition. I think I'm going to put the kids in the front, so Chi, and I'm going to put my daughter in the front right here. You can take your layer, long press on it without moving your finger and drag it down. So I'm going to move him behind her like here because he's a bit taller, he's a bit bigger. Then I'm going to put my husband here by her and then me by my boy right here. I know it looks choppy right now, but we're going to take that and we are going to be making a drawing out of it. I'm going to just erase this part of the photo of my son because I want the hair to be a bit more visible, and I'm going to move my husband a bit closer to all of us like here. Okay. Let's take all these layers. I like to group them because then it's easier to move the whole thing. I just clicked the whole thing and then I got them. I don't merge them, so I don't make it into one layer because I am afraid that if I want to move something in the future, I won't be able to. I will have to do the whole thing again. I'm going to go here, for example. I want to delete a bit of the outside of the photo of my daughter because that's not necessary and my son's hair will be visible too. Okay. Let's get started. I'm going to toggle the visibility of this whole thing. So I'm going to put it the same. I'm going to move it to maybe 65 in all of them and you have to do it individually because their separate layer is still 65. I'm going to delete some of my husband's shirt because I don't see my daughter's face very well. Okay. I think we are ready. Now we're going to make yet another layer and we're going to repeat the same process we did before.
12. Final Thoughts : I hope you guys really enjoyed the course as much as I enjoyed giving it, teaching it. Just some last thoughts. When you guys are putting your drawing together, feel free to take as many liberties as you wish. One line drawing is beautiful because it's so permissive. It allows you to do so many things that you want to do and to make it abstract or make it realistic or make it whimsical. So it is up to you to decide how you want your drawing to look. Please feel free to contact me. I am available on Instagram, I am available here on the platform on Skillshare, and I do check my messages often. If you have a question, if you have a doubt, if you have a comment, if you want to review this course, please feel free to contact me. I will be pleased to share this art with you, this art style and to answer any questions. Or if you have any ideas or anything that you would like to see more often or any course ideas that you would like me to teach in the future, I would love to hear those. Thank you for coming by, see you in possibly a next course.
Attabeira German, One-Line Illustrator
