Painting Women Who Inspire

1. Hello!: Hey, I am AnaMaría MJ, Designer and Illustrator from México. In this class painting women who inspire, We're going to start by learning how to draw a face, face proportions, mixing different skin tones colors. And we're going to start by doing some warm-up exercises, that are going to help us to get ready for our Final Project, which will be to paint, a Woman Who Inspire Us In most of the examples, I will be working with watercolors and gouache. Anyways feel free to work with whatever medium you prefer. So see you in class. 2. Class Agenda: Welcome. I am glad you are here. Let's start by reviewing the class agenda. First, we're going to do some warm-up activities and exercises that will help us get ready for our final project, which will be to paint, a woman who inspire us. We're going to start with a drawing warm-up that I have found super-helpful to improve my pulse and precision. Then we will learn about face proportions, eyes, nose, and mouth. To finish that first part, we will do an exercise that I enjoy a lot. It's called drawing on the subway. All of that is going to help us gain confidence and be ready for the second part of the class, which will be related to our final project, painting woman who inspire. Down here on the class resources, you can download a PDF that can help you for inspiration. It includes the name of many women all around the world who have done amazing things in different fields. Also some books related to this topic. In the second part of the class where we're going to start our final project, I will be working with watercolors and gouache. Feel free to use whatever medium you prefer. As you can see, we will be covering a lot of valuable information in this class. So if you want to take the most out of this class what I really recommend you is to actually do the exercises. So let's start with a drawing warm-up, which is quite simple, but it's very helpful. 3. Drawing Warm Up: Okay, so we're going to do our drawing warm-up. This is a very simple exercise that I have Found so valuable in my own practice. That is why I wanted to share it with you. Make sure you have a bunch of paper and a pen, try that the paper be plain, like with no lines or bullets or anything like that because that can distract you and be seated in a comfortable position, try to put both feet on the ground and be comfortable. And we're going to start by doing some lines, simple as that. Just Some lines. When you're doing your lines, make sure you're moving your whole arm. Like for example, if you put your fingers here, you can feel that the movement starts from the shoulder and not only your hand. When we're drawing, we want to draw with the whole arm because it's going to give us more confidence, and more flow in our drawings. So continue doing your lines with your whole arm. And we want to draw with the whole arm, not just the hand. That is going to help us to make more fluid and confident drawings. And why we're doing this? Because like any other thing you want to master, it's about building a skill. So for example, if you plan to run a marathon you don´t start by running the marathon, right? You will do some warm ups and then start running little by little. So drawing and painting, it's the same. And the goal here is to make muscle memory. So when you finish this side, you turn to the largest side of the paper, which is harder. The longer the line, the more difficult it is. If your lines are not straight, don't worry, that's pretty normal, mine´s Were not when I first start, I think doing these very frequently for the past three years. So I highly recommend you do the same. You can do this practice every time you are on the phone, or in a meeting or watching TV. It just so simple, but incredibly effective. Now that we have done our warm-up, we are ready to go to the next lesson, which is the face proportions. So see you there. 4. Face Proportions: Okay, so we have done our warm-up activity and we're ready to start drawing faces here, I´m going to teach you, how to draw face proportions. So you will need a simple paper. Try, try not to be with lines or squares because that can distract. You. So, we're going to start. I'm going to work with a color pencil, You can work with any pencil, pen, wherever. That's perfectly fine. So I'm going to start by trying to make an oval. Sometimes I like to try to draw it before I actually draw it so I can visualize the shape I'm going to trace. Okay, now that I have my oval, I'm going to make a line in the middle. And another one here also in the middle. Something like that. This first line is going to correspond to the eyes. Yes, believe it or not, It may look weird, but the eyes are kind of in the middle of the face. Next, I'm going to try to locate the eyebrows. Something around here, okay. Now that I have the eyebrows line, I'm going to try to find the middle between this line and the chin. Don't use a ruler. Just observe and trust your gut. Something around here. This line corresponds to the nose. Now I'm going to try to find a middle between this line and this, something around here. This line corresponds to the lips. Okay, so now I'm going to use my pencil as a measurement tool. I'm going to put the pencil here on the nose to the line and the fingers on the chin. And I'm going to check it here, should be somewhere around here, the eyebrows line. And here is going to help me locate the forehead. So the eyebrows should be a little bit around here. Okay, So this same measure is going to help me make these lines. I'm going to place my fingers on this middle line here. So now I'm going to connect these marks with our circle, something around it. Okay? Now I'm going to start locating the face elements. I like to start with the nose. I think it's easier. So I'm going to make a kind of triangle. And I like to simplify the nose. When we overdraw the nose, the face usually looks a little bit weird. So I'm only going to make some kind of parenthesis here. And then like, like a letter m and like a wiggly line, something like that. Okay. The nose is going to help us locate the eyes, where to place the eyes. We can also do it like this. The size of the nose will be similar to the size of the eyes and the distance between, between eyes, It's another eye. When you're drawing the eyes, I recommend you to work both kind of at the same time. That's going to help you a lot to make them similar, and more aligned. Usually the eyelid covers a little bit of the circle. Of the pupil. Because we usually don't see like a full circle. That looks a little bit cartoony. Now I'm going to draw the eyebrows. Here. I'm making a pretty neutral face. The goal is to understand the face proportions. But usually eyebrows, communicate a lot about the mood of the person or drawing. Their pupils are going to help us locate. The mouth. The size of the mouth. So it should be something around here. Anyways, remember, these are not rules that everybody is different and beautiful in its unique way. So these are more like guidelines that help us to have something, to start. The important thing is that you use these as guidelines and actually observe the person you're drawing. The ears will be something between the eyes and the nose. You can check it in your own face. Should be something around here. Of course, everybody is different. So now we have something that looks like a face. We need to make the shape of the face. So this doesn't look like an egg, so usually in the human body, we have shapes that come in and out. So observe the shape of the, of the face of the person that you're drawing. Go with something like this. The eyes corners are going to help us locate the neck. Okay, so this looks more like a person. When you're drawing the hair, make sure you make your lines on the direction the hair grows. Otherwise, it will look a little bit weird. Practice this many times. And that practice is going to help you a lot to understand how to place all the face elements and to understand face proportions. So you don't have to be drawing all the guidelines every time. Those are going to be more in your mind. So before we finish, I'm going to mark the guidelines. So the face usually is divided in three parts. Remember that we were measuring like this. So here on the chin, nose, the eyebrows and the forehead. So we have 1, 2, 3. This is going to be different in every person, but it's kind of similar in everybody. And you can use these as a guideline to help you locate where all the elements of the face are placed. Also, we have everything here with the size of the eyes. So we also have 1, 2, 3 parts. When you're drawing someone try to locate where the eyes should be, the nose, the lips and the relationship between all of these elements together. So practice this many times until you feel confident and see you on the next lesson. 5. Eyes : Okay, so now you know how to draw face proportions. I recommend you to do this practice around three times. Will be good. And now we're going to go deep and understand how to draw the eyes, the nose, and the mouth. So let's start with a blank paper. Make sure you check out the class resources for references. And when we're drawing, it is always very important to observe. So you are going to observe the person you are drawing eyes´ and try to look at the shape of the eye. It's always good to try to find a basic geometric figures in the things that we are going to draw. And that's going to be always a lot easier. Sometimes I like to start with a horizontal line. And just really eyes, are like some kind of leaf. Look at the lagrimal, usually we forget about this, which is like another ellipse. I´d said, is not like a complete circle. If we draw eyes like circle, it's fine, but it's going to look a little bit cartoony like a circle. So try to look like what is the shape? Sometimes we can find like a line that goes up here, and some kind of here It may look a little bit more like that. So now that we have the shape of our eye, we are going to make the circle of the iris. Usually we don't see the complete circle because the eyelid covers, unless. The person you're drawing has like a surprise expression or something like that. You will see like the whole circle. And this light also helps, always. Okay, so we have the basic shape of our, Eye, remember to mark A little bit of the eyelid thickness. That gives it some natural look. We are not aiming for realism, but at least we want it to look kind of natural. So marking this a little bit harder, will always be helpful. Because the eyelid drops a shadow. Now here. And this should always helps the eye look more natural. Gives it its drippy. form. When you're making these shadows, try to be soft. Very soft. We don't want to make super dark shadows here. It's just like a little shadow. This eyelid line. And we're going to go and draw the eyelashes. When you draw eyelashes, make sure you follow the direction they grow. And also look for the orientation. Okay? So we're going to start like this. Somewhere here in the middle. It's going to look more like a straight line and then it's going to turn a little bit to the other side. Sometimes I don't draw eyelashes in my portraits because I don't like them to look like a doll But that´s totally free. That's up to you. There's people who draw, draw super huge eyelashes. And that looks cool. And there's people who don't make eyelashes. And also looks good. If you don't do eyelashes, make sure you make this shadow a little Harder so your eye kind of makes more sense. And if you do eyelashes at the bottom of the eye, also, be careful with the direction. These are usually lighter than the other ones. Here's the simple sketch to understand the eye. I'm going to also look for being super careful when I'm painting the iris of the eye. Here we have like a radial direction, so make sure you follow up. It's going to make more sense. Okay, So here we go. Now we have this eye. And to make a recap, the important things that you need to care is the shape of eye. Let´s try to see, I'm going to trace it here. Look at the shape. It may be like a line that comes here on this direction, and then goes down and here it can be something around here. Okay? Usually, the eyes are not a circle. And even we are not trying to do Hyper-realism, making this kind of shape Help us a lot to make a more natural feel. On our drawings. Look for the lagrimal, which is a kind of ellipse, and make sure that the eyelid covers some part of the iris. This is not a full circle because, well, it is a full circle, but we don't see it completely unless the person is in some kind of surprise or something like that, probably you will see it. The best thing you can do is always to observe the person you are drawing. Put a lot of attention on all the, little shapes that are part of the eye. Make sure you, you do these lines, the radials, like the direction here matters. Also the direction of the eyelashes, when we're drawing hair and things that grow from somewhere like grass and hair and eyelashes. Make sure you are careful about the direction. While you're drawing this. Here at the middle, it's going to look more like a straight line. And then the lines will turn to the other side. So we did eyelashes, look at the direction and orientation of the lines. Okay. Also, make sure you notice the thickness. We have here the eyeline thickness. And this little shadow, Help us understand a lot that the 3D part of the eye, Like we have the iris here, the eyeball, and then we have the eyelid. So next we're going to draw some eyes, like a full page full of eyes. That's going to be very helpful. And we're going to learn a lot by practicing. We're going to draw two eyes together. And when we're doing so, it's always helpful to make some lines. So as this lines can be a guide, help us be, help us make these eyes orientated. So when you're drawing eyes, I always recommend you to be drawing both of them kind of up at the same time. Here be careful to place the little light we have here allignated. So they don´t have a crazy look. Now, when we have the two eyes, Let's be super careful here with the light. Let´s Make sure these two lights have the same orientation. Because if you cross the, Lights, they will have a crazy look Also be careful about day distance between two eyes, usually it's one eye. And look at the shape that we have already before. Drawing some lines can help you. This can help you have both eyes in similar sizes. Also here with the pupil, we can make some lines that help us. Make both the same size or at least some kind of similar size. So let's continue practicing drawing more eyes. I recommend you to look for different kinds of eyes. Probably in your photos, your friends, or on a website. You can Google eyes and just draw a few of them. Okay, so now we've done a page full of eyes. An important thing here is to observe eyes in all kinds of different shapes, colors. And everything is different depending on the person like, the eyelids, the size and obviously the shape. So the important thing is you practice and put a lot of attention on how the eyes of the person you are drawing are so you can understand better the form. So now that we have practiced this, let's go and practice the nose. 6. Nose and Mouth: Make sure you check out the class resources for several references. So depending on the person, the nose will look different. I like to draw them noses, super simple. I don't like to overdraw all the details on the nose because that usually looks like too much. So the way I do it and the way I will recommend you is to be very simple. With the noses. So I'm going to start this one with a triangle and then make the circle. And just like this kind of parentheses and this kind of curve. So with these three simple lines, we kind of understand. Here's a nose. Later when will, we will be painting with can add some little shadows and highlights. But try not to make super dark shadows. Like if you make super dark shadows, some people just like to do super dark shadows. Or to mark this line super dark. I don't recommend to do this because usually, it looks a bit too much or messy. Like if you draw, this super, super dark. So try avoiding these super dark shadows. And my suggestion is to simplify the nose. I'm going to draw different noses. Even if we do this, very simple, kind of nose, there's always going to be people with different shapes. So my suggestion would be to observe the person's The person you are drawing nose on, and try to simplify it by as much as you can. So for example, this will be one type of nose. This I want it to be another one. Okey so these are some frontal view, noses like different shapes. However, the shape of the person you are drawing nose´ is, try to simplify it. And of course, when you are adding color and, you are painting it, you will do some lights and shadows. But please try to avoid super, super dark shadows because this tends to make your painting a little bit messy. So my suggestion and the way I work, and of course that's what I'm going to recommend and teach is to simplify the nose. Okay, so now we're going to draw some noses from a side view. As everything related to the human body. Noses come in different sizes, hapes and colors. So we just need to look kind of the line that forms. If you want you can start by a triangle, something like this, and then try to do the shape. It has. This is gonna be one kind of nose. So whatever the form of the nose, the person you are drawing is, just try to observe it. Try to place the different shapes that you can find on the nose, like in a triangle. So you can, you can make a triangle and on top of the triangle. Draw the shape of the nose that you will be drawing. Here´s a triangle and here is the shape. Anyways. My recommendation is to always simplify the nose on and use like simple lines and don´t. Draw many, many lines. Probably you will see more lines. But with try to make the shape or the outline. Kind of simple, that's the way I work and that's my suggestion. So practice drawing some noses. You can make out a full page with a side view, and another one with a front view. And now let's go and draw some lips. Okay, so now we're going to practice drawing some lips. Okay so I like to start by doing a horizontal line. This is going to help me locate all the shapes of my lips, so I´m gping to make a cross. Let's say my mouth is this size. So I can find some different shapes. On thelips. Here. We have some kind of heart. Here are some kind of ellipses. And here other two ellipses, Usually a little bit bigger. The line we have here is usually not straight so Make it wiggly, you will need to observe the person that you´re drawing. This is more like a guideline, and now I´m gping to connect. Okay, So this shapes we made at the beginning, can help us, find the, the shape of the lips that we want to draw. But usually, you don't have to draw All the guidelines are just so you understand, like the anatomy of the lips. And I'm going to make those with another color here first. First we make a horizontal line, a cross. And we find out the size of our mouth. That's important, this line has to be in the middle. And here we have some kind of heart. Try not to make it So pointy, kind of a curve And then we have these two ellipses to make our diagonal. So these shapes can connect here. It's great to repeat it, so it doesn´t get too pointy here,make a radius. So we've got kind of an M Form, very open here. And now here we also have two other ellipses, usually a little bit bigger. It depends on the person. This size. I mean, this line usually is not so straight, it kind of has a wave, that´s the bottom of the heart like draw a round part, and round and round. So it's another M a little bit like this, kind of Okay? So this line is kind of like this. Then here we have like a W. Okay? So practice drawing some lips like with this shapes inside. So you can, give it a try. And then we are going to make a page full of different lips. Okay, So we have done a page full of different kinds of lips. As you can see, some of those are thinner, other thicker, and lips as same as. All parts of the human body are always different. So the important thing, is you use these as a guideline and observe. Really pay attention in the person you are drawing. And one thing they recommend you to do is to look at photos, at your friends or your family. And look the different shapes that we can find. Okay we are doing great! I hope you are doing these exercises together with me because this is going to help us level up our skills and practice and get ready for our final project, which will be to illustrate a woman who inspire us. By doing this practice, you will learn how to observe the different shapes we can find in all the face elements. And we have been practicing enough eyes, noses and lips. So we are going to go to another exercise before we get to our final project. This next exercise is one of my favorites, is called drawing people on the subway. So see you there. 7. Drawing on the Subway, Exercise!: Hey, I'm glad you're at this point. We have learned a lot in previous lessons and we are going to do a fun exercise that i call “ drawing on the subway” We're going to pretend we're riding on a real subway where we draw with all the people we see around us. So this is going to be fun and it's going to be very helpful to train our eyes and practice our drawing. And because in real life, people move around and they don't stay still like pictures. We're going to have very little time to make each drawing. Believe me, this is going to be very helpful to train our eyes to capture the essence. So even if you think it's crazy to be drawing in such a little amount of time, please trust me, and give it a try. Okay, so let's start. Look for further references at the class resources. Well, let's start our first drawing. We're going to use a Fibonacci sequence, And we're going to have only three minutes on the first draw when they weren't going to have five minutes, then 8, and finally 13 minutes. I know it looks like super short time. And that's the goal to kind of train our eyes to understand and capt the essence of each position and figure of the person we are drawing. So don't worry, your drawing should not be perfect. Actually, that's never the goal. The goal is more like practice. So let's start. The video is going to go faster, so it's easier to watch and it's not. So heavy but. Set up your timer and let's go for the first 3 minutes. Okay. Ready? Go. Okay. Time time! stop!. Stop! It doesn't matter how much you managed to draw, it´s time. The goal here is just a practice. So let's continue with the next one, which is going to be five minutes. Okay. Five minutes. Ready go. Okay. Okay. Time, time! Stop!. We have done our five-minutes now. Let's go and draw our eight minutes drawing. So eight minutes. Ready? Go. Okay. It's time, time stop! Okay. Let's work with the next one which is going to be 13 minutes. Ready, go! Okay, we're done. We're done. Great. We haven't done our practice, our exercise. Here. We draw this first one in three minutes, then this other one in five minutes. Then eight minutes, and 13 minutes. Okay. Remember the goal here was never to make perfect drawings. There are, these are more like simple exercise to start training our eye to observe. And it doesn't matter if you, for example, probably, at least on this first one, probably a lot of people will only draw very little and on this one too. But it's part of the practice. I have been doing this exercise for a long, long time now. And it always helps you to draw fast because. It's an easier way to stop thinking and stop getting parallelized, complicated, and try to capture the essence. So I recommend you to do this. You can do it with the images that I'm going to provide you, on the resources part or, You can do it live, go to a subway or a cafe or with some friends or look for photos online, whatever you want. So this is an excellent practice. I hope you do it. And now we're going to get ready and start with the paint so we can work on our final project. So see you on the next lesson. 8. Skin Tones: Color Theory: Well, we have been practicing a lot with drawings. Now, it's our turn to start practicing with the actual paint. Right now, I'm going to use my watercolors anyways, you can use whatever medium you prefer. Because what we're going to learn here is color theory applied to skin tones. So these works with all kinds of mediums. Here I have my Kuretake Watercolors, These also are my Winsor and my Cotman watercolors. If you don't have the exact tone of the skin that you want to paint, don't worry, you can start working with the three primary colors, which is cadmium red, cobalt, blue, and cadmium yellow. Also, some white watercolor can be helpful, or some gouache can be helpful. Okey So I'm going to use my watercolor paper. And you can download the template I have downloaded here on, on the resources. I'm also going to use a dropper, little dish. Some water, probably if you have three or four glasses of water, would be better, that's how I like to use it and what I recommend. Anyways if you just have one that's also fine. And some towel. So let's start! check out the class resources here, I've made two versions of this template. This first one is the one I'm going to be using. And the second one is exactly the same, but here at the bottom, it has more rectangles in case you want to practice more mixing colors. And here's also a color wheel and a digital color wheel in case you want to check it out. First, I'm only going to start with the primary colors. So I'm going to use the Karetake ones. And my primary colors are red. Yes, this red, This is the cobalt blue, cadmium yellow, and white Here´s that, Oh, also, you have an extra piece of watercolor paper. Can be helpful because we can make some color tests like this one. So that´s always something good to have. When we're working with watercolors. It's always good to first put some water before we actually start painting. So your watercolors can hydrate Also clean your brushes. Make sure you never leave your brushes like this because, because they have a pointy form that´s going to get damaged. So always try to clean your brushes and put them down. The color wheel is going to be very helpful for this exercise. If you have no clue about color theory, don't worry. Here we are going to learn the basics to paint skin, in different tones. And I'm working on a future class, about color theory so you can check it out later. So if you don't have a color wheel like this, under Resources I'm going to leave one, which is a digital one. So you can check it out. I'm going to start by painting the primary colors, which is red, blue, and yellow. So here they are. And I'm going to use my template. Here. As you can see on the template, we have first three squares. And these little letters, b for blue, Y for Yellow, R for red, and this other B is going to be brown. So first we're going to paint blue, yellow, and red and see what happens. It's been a little while since I've put water here on my watercolors. Here's my clean dish. I usually don't clean my watercolor palettes all the time because you can reuse them. But right now I want it clean because I'm going to be working with very specific color mixes so I don't want my colors to get contaminated. So it's been a little while since I put some water here. I think now I´m ready to start mixing, putting your watercolor here on your palette, it's going to help you integrate the paint and you got it. It's going to work better. So try avoiding putting different direct colors from the palette to your paper. The size of the brush that I use is accordingly to the size of the shape that I'm going to be painting. And I like to have four glasses of water because I like to clean each color in, in the primary color corresponding. For example, this one was for blue. Now I'm going to make some yellow. I'm going to pick another glass, and red on another glass. And for example, when we get to the secondary colors like for example violet, which is made out of red and blue. We can use the blue water or the red water. It doesn't matter. It up to you. I like to do that because it helps me get my colors cleaner or purer. Another important thing you need to know if you're painting with watercolors is try to make your lines very soft because you won't be able to erase the lines under the watercolors. So, okay, now I have my primary colors here and I'm going to look for their complementaries. So for yellow, remember when we´re saying yellow is violet, blue is orange, and red is green. So we are going to paint those colors here on the opposite sides of these triangles. But we don't have those colors, we only have the primary colors. Well, the good thing about the primary colors is that we can mix them up and make almost any color. So first, we're going to start with violet, which is the complimentary of yellow. And to make violet, we have here, color red and color blue. So if we mix them together in similar amounts, we are going to get violet. And then we have red and yellow, and in the middle we have orange. So we mix them together, like we put the same size or the same quantity of yellow and the same quantity of red. Put them together and we get orange. The same is going to happen. With yellow and blue, we get green, okay? Okay, it looks like we have the same quantity of red and blue. So let's mix them together. And yes we've got violet for making this secondary color. It is important to have both primaries. At the same amounts, Otherwise, if we have like, for example, a lot of red and a little bit of blue, we're going to get a red violet. And that is not a secondary color. That will be more like a tertiary color. Great. So we have yellow and violet here. Now let's make orange, which is blue´s complimentary. For example, this violet, I'm going to clean it here on the purple, I mean, the blue water. So let's put the same amount of red. Will take this kind of, like the same amount of red and yellow. So, let´s mix them together. Yeah, this looks like an orange. Perfect. So now let's make green. Good, so these look like the same amount of yellow and blue. Let's mix them together. And we got a secondary green. Great, so now we have the primary colors here. And the complimentary colors here. And you can know these are complementary colors because you can check them out on the color wheel and they are opposite to each other. Now what we're going to do is we are going to mix the three primary colors. So blue. yellow and red. Let's mix them together and see what we get. When we're doing this kind of exercise. It's important that you do use the primary colors, not any other kind of blue, for example, Persian blue or royal blue or ultramarine or whatever other blue. Use the primary blue, the primary red, and the primary yellow That is going to be very important because all the other colors are already mixed on, have some other undertones. So look at the name of the tubes. You can find them. They can be called cadmium yellow, cadmium red, and cobalt blue, those are the primary colors. Okay, so now we have the three primaries among the, about the same amount of them. Let's mix them together. How exciting, Okay let's see what color we get. Let's put it on the paper. Okay, so here we have learned that if we mix together the three primary colors, we get some kind of brown. So that's very helpful. Now let's see what happens. If we mix the complimentary colors, we're going to mix violet and yellow. Okay, we have our violet here and some yellow and see what's happening with our violet and yellow. We do get another tone of brown, which is very interesting because it is brown but It is somewhat different than the one that we got when we mixed the two primaries. Which of course makes sense because, you know, violet is blue and red. So we have violet. We have the blue and the red here, in the violet, and the other one is yellow. So we are having a brown. Now let's mix orange and blue. Here we have a brown. Yep, Here we have another Brown look how They are very different. Now let's make green and red. Okay, it looks very red. Let's put more green. Yep. Now, it looks totally brown. Okay, So now we have many different browns. And we can of course get many more. So we're going to add white to this one. So this brown, which we made with the three primary colors, we're going to add different amounts of white and we're going to make our monochromatic scheme. This one is going to be the one with less white. When we talk about white, in watercolors, we can add white and it's going to look like a pastel color. Or we can add water. And it's simply going to be more translucid. And when adding white, the color is going to look lighter. Okay, So we are going to use the water now, okay, So this first tone was with very little water. Now let's add more, More water, which will be equivalent to adding some white. So you can see by adding more. Water or white, we can have different tones of the same color. And same what we did with these brown, we can do the same with this other browns or with all the other colors. We're going to do that with the yellow, orange, and red, which is a color we can find on different skin tones. So let's add some water. Make sure you don't touch any part which it´s still fresh because you will mess it up. Here is dry but down here. It's still wet. Okay So here we have some color variations by simply adding more water or more color white if you want. So before we start painting some different skin tones swatches here, I'm going to add a title here which says skin tones and some symbols so we can understand better this and help us remember in case we need it later. Well now we have the plus symbol and the lines. Everything here kind of makes more sense. It's important. We use it as a reminder of how we got all these brown tones. If we mix the three primary colors, we get this kind of brown. And if we add different amount of white or water, we can get all these tones and all the other colors, we can make them lighter. adding some water. In the case of watercolor, or some white. We can add white for gouache. These can make your colors lighter. But if you are working with acrylics or gouache or whatever other medium, it's going to be with white instead of just water. Okay? So now let's start making some color schemes to a chess I really, really loved this project of Angelica Dass. You can check out her website and she helps us see that there are many, many different skin tones. So we're going to try to make some of those. As you can see, there are many and Of course, there are more than the ones that we see here, and they are all different. So we're going to practice our mixing colors skills. So we can use these lines to practice. Okay, so let's start with this one, And then this. 9. Skin Tones: Color Mixing: Speaking as strictly about color matters, we can see this color kind of similar like this one. So probably we are going to start mixing all the primary colors and then see if it looks similar or what we need to add or exclude. So let's start. This is going to be formed because it's all try and test the GitHub, your extra piece of data. It can be helpful here. So I found my true primary colors here. Of course, we are not going to get exactly the same color, but some kind of similar what we find. Okay, I think we need, I'm going to test data flow. But I seen we are looking for okay, I like this color. It's kind of similar. Not exactly the same. I'm just going to add a little more jello and ice cream from retweet, help me. Yeah, I like it. Or base. So we're going to our first colors here. Well, the first is where we get to this color by mixing almost everything. Well, not everything that trip primary in different amounts. And then we also add a little bit of violet and polio bit of green on till we get to it. So if you have sienna, endure in your work or band set will be very helpful. Like here, you don't have to use exactly only the primary colors. Feel free to do it or that you think may maybe helpful. But their goal is to know that even though if you don't have the exact folder on your band said, you can get similar colors by mixing. Okay, so the next color is, is very pink. I think we're going to use red on some whitewash. It goes live. This color looks very fast channels, so they're wash is going to help us remember that pink is white. So another good thing about mixing colors, making your own colors is that we all see that color in value bit different, like we all humans are our 09 unique way to see the wars. So if you mix your own colors, you will fit your torch in their paintings. So here I'm going to add a little bit of orange to, okay, this is wash and works perfectly fine with work or lumps. So I'm going to 0 foot only a little bit. They go because while she's more opaque, doesn't help us get the Bastille Luke, we are looking for. Okay. I think we need more wide and we are going to be good. Okay. Same. Yeah, it kind of looks very similar. So this color, we've made it with red, orange, wash white. Since we. Wash. This looks more opaque and you see actually we have some water. We can make it a little bit more translucent. But it won't be us, just Lucy's, say we're polar alone because she's okay. Next color, we're going to do this color, which it has a lot more violet. So probably we can use the one we already have a subbase of violet. If you don't know what colors to add, tried to look at the undertones. Yeah, I liked it. And this is why it's super helpful to have an extra piece of paper to check it out. Because sometimes when we are mixing on the pilot, equilibria looks different on the paper. When you are painting with watercolors. Always make sure you put enough water. I have found that many students, when they're starting out with water colors, they tend to, to work with the watercolors kind of very dry. That doesn't give the best. You can get richer. Where colors. Son now smack these core, which it's our white cradle, the agreed of Hooray. I think. Soil, it's grade could be some kind of blue. And very little Jell-O. This one, That's okay. This looks great. Okay. I think we're good with that. It here. Try not. We are not looking for the exact, exact color because data is always super hard to get. It's not what we know. We don't care about that exact color, but some kind of similar color, we'll be good. Okay, So let's try it. Next polar. This looks like very peach. Broadly, we can use this one. Our surveys and more orange and pink Matching. I'm going to use in previous one, we had one like this color. Look, it's kind of similar goods. Now we're going to work on these color. I think it looks kind of similar like this one we may mate with. So violet. So particular, here we have solved some violet left. I think you'll still be. Okay. Probably I'm going to jump to this color. Now. This one is fine. So I have like a lighter pink which only have one. Well, yeah. I think I got it for the first time. Yeah. I'm happy with this color or this one. Yeah. I'm going to do this one. And then probably this one. Yep. I like to eat local. Always going back through more water. This term. Yep. Cool. This flaps looks pretty cool. I'm going to put on your real whitewash over this color. Because even though we can see a very bright pinks here, I think, is a little bit more white. So let's try that. It works. It is not that spurred them experimenting process when we have to go through okay, Just now I feel that it looks more natural. Right. Well, do your practice. And as you can see at the beginning, it took me a lot of time to get to the colors. And the more I was mixing, it was easier. That is because of course I was getting into the more than I was getting practice. And also because I operate heart, some base colors I can make stem on top on one color can help you build their own. One of these colors are mixes that I made here with you. These are unique colors. You cannot find them on your watercolor set and look. This also looks very pretty. Okay. Well, hope you enjoyed this practice, child, and now it is time that we go and start our final project. So see you on the next lesson because going to be very exciting. 10. Mood board Inspo!: Have you ever made as traveling by really wanting to do your own illustration work done, even know where to start out. Always end up doing a roughly now somebody else's work, either adding expression for a picture. Well, don't worry, that is super common in these artistic path, that competence almost everybody I remember it that happened to me too. Now I have learned to work with MOOC birth. And I'm going to show you, Hello my work. And it's going to be very helpful and easier to connect our unique ideas through. Okay, so here I'm going to show you how I start. I'm not work. First. I will start by making myself some questions about what do I need to use in this specific project. So, in this case, clears clear way to define who do we want to paint or adaptive plan, check the class resources. There are many ways to a lot of work who have done amazing things. And now that you decide who they want to claim, we can start looking for some page references, the firm, many fixtures. Probably you will find some of them who are super iconic or important. And also look for the things that we didn't surprise parallel. For example, I don't know the way she knew her hair or the clothes or whatever thing that is characteristic of care. Also, look forward to things that are her universe. What I mean with that is what kind of objects or elements surrounded that plane are significant growth. By, for example, the, she was a writer or she's a writer, probably proves pins, letters, things like that. And what colors identify with her personality and what Coursera route care for it some fault. And when I was making the Marie Curie illustration as well, mercury is all about rid your activities so radioactive followers will make a lot of sense. So look for things like that. Look up here I put looking for painting perhaps renters. What I mean here is look for some other artists that you like. Probably they can work in other subjects, miners. But look how big word that, that text towards their compensation. The prologues are things that you like. So you can learn about their painting techniques. And you can apply that into work without copying their work because it's not going to be an accept puppy. You are more like learning about these things that you like and mix up your own things with that new knowledge. You got. Also interview yourself. What do you want to communicate with this illustration? Oh, did you didn't apply with care? What did you want people to feel when they see your illustration and things like that, make sure you asked you asked yourself those questions. Um, this is going to cost you a lot to have a better starting point. Because you know, what do you want a king and what's your unique Deutsche? Well, like within what we call our own way of saying things. And there's people who is more funny than others there. So Peoples Regional cereals or SAARC galaxy or things like that while in painting is to send. So how are you going to put your own unique torch into your painting? It can be with follower, with some shapes, with some recurrent motifs are the way, simple way you will inks that can be helpful. So now that you made yourself all these questions, start looking for images that can help you at inspiration about all of these different topics. So up next I'm going to show you mine here data. So here I have some clean classic Margaret Hamilton pictures. I love this one. We built, Look, she was super Zhang and here's a huge, huge stack of books with full of code that she was doing for Apollo 11. So I think this is amazing. He or she is working here. She's at age 84. And here's some normal old picture here still. This mode is also super important because this move, this photo was taken from their poll 11 and well, of course the galaxy and the start make a lot of sense with her because she was an auctioneer in software engineering to develop the software that help Neil Armstrong and his crew to step on the moon for the first time. So that's like an amazing job and I want to show that on my illustration. So I have all these Europe brands. And this is going to help me a lot when I start doing my illustration. Next, I'm going to show you are these references here, the brand work traits from different artists. You can check out who made those. And the way that, the reason I like these is because all of these blue, like you can turn only recognize this is a woman portrait, but it doesn't look realistic. But at the same time, it doesn't look like too cartoony. So I like that saying like, I don't know exactly come to fall means I, I feel that slide. And natural law rather than a realistic look. So that's what I want to achieve with the illustrations. Here. I also included some and a victorious norms and galaxies fit goes to name some amazing work, painting nodes and galaxies in our axis. And it's super related through tomorrow married hung to know here are the galaxies, the stars, the moon, because that was our super important part of her work and her life. So here's the reference, and here I also include some illustrations of mine that I have made before. Warmer for Inspire. And well, I've put them here because I want my Margaret Hamilton illustration to be part of this group of illustration. So it kind of look familiar to these kind of looks like it is part of that collection or a series. So I hear they, even though all of these illustrations are different, they have in common, like all of them have a word color background. Here you can see the white colored background. They've have elements about fair activities or work. Here in the backbone tool. And you can see the face quite big. It is not like a full body illustration. For example. It wouldn't make sense that I made to make this exact picture an illustration, even though I like it very much, but it will, it will break with all of these. So probably this picture can help me a little bit more and I can use the galaxy or some workflow background. Then in a small place, I can do something, probably something for me to stack of books on the moon. I don't know, I will see. So as you can see, if I show you these and these and we start talking, you can trap, kind of funny to do. So this is super helpful, especially if you work with clients, is always super-helpful to show our MOOC word before you actually start working. So you guys can have a conversation. And I agree. What do you guys want to do? Here? I also include but small brief biography of Margaret. So I remembered the main things that I need to know about her life and her work. So my illustration is regulated to this. First I was really novel of her. I was watching documentary movies, like do them most researched your GAN. And it will also be a lot of fun because you will discover amazing things. So all of these Walmart have made great things in history. And of course, I also include the references. So in case I want to go back to some of the information I found, I know worthies. Well, that's always helps. So here's my mood board. This is an example, a pole. You can make your own mood board. You can start the, start with these atoms start point, and look for the images. And if you can make broadly are thorough moodboard and an illustration work for. So here on the photo mood board you can have the face references. The things relate to a woman who inspired you all about her universe. The things that she lie see throughout. And here you're going to have some other artistic reference. Don't do like techniques and textures on the way somebody drove something. So this can also be helpful. I'm going to show you my Marie Curie mapper so you can check it out. It is different than this one. Here's my Marie Curie mapper. As you can see, it works in the same way. So for references, I also learned that up their peer to retire. She always dressed in black and they're radioactive. Colors like green, jello like very bright colors, are fighting for the elements that go on and radio. And, well, I decided to change her luck dressed in purple one, which is still dark, but it's also a complimentary color with a jello, so that looks good in the illustration. And unwell, this is my reference, a reference. And you can see, oh, I mix up all of these APS into my actual illustration. I have found that doing a MOOC work, starting with a MOOC word helps me to mix up all my ideas like into a creative side of interest. And then I can transform that into my own drawing or my own illustration. Hope you do your MOOC, Bart, and now let's go and start our final project. 11. Intro Final Project!: Hi guys. I'm really excited because finally, we are ready to start our final project, which is to illustrate our Omar who inspire us. Make sure you check though here the class resources. On the class resources you can find this pedia, which is our names list of former police, fire. You say tenses, start point. You can find a lot of names of different artists, writers, poets, politician, activist, meet, scientists, engineers, inventors, signers are two. Business walmart and many, many more. Also, I included here some amazing books that you can check out here they are Muslim leaves and well, the idea is that you know that there are men, men, warmer, amazing things and inspire us. I also include many illustrations from the print artist if you want to look for them. The reference here and well, enjoy it. I hope these help to get Inspire. Please remember to share your illustration here on the project gallery so we can all learn from each other. That's going to be something really I see also, it will be nice if you prime a brief story about who she is. Why these two side to illustrate care what the 2D layer or something you want us to know. We are a global community and without many kinds of different Internet and backgrounds. So this is going to be super amazing and we all come from the chart. On the next lessons, I'm going to start my final project and I'm going to walk you through the process. We are going to apply everything that we have learned about Facebook, partials, mixing different tongues, kids, MOOC, glory to and all that. So pray together and we mean. 12. Final Project: Background: Well, it is time to start our final project. In the following lessons, I am going to explain you my thinking process. The goal here is do translate these into your practice. Try not to do the same as a trademark to mix this width what you want to do. Okay, so first I start doing some sketches, exploring my ADS. Remember my mood board? Well, here I'm using up all my ideas in a very fast way. Each drawing took me no more than eight minutes. So that way I can make changes with no fear. I did for a sketches and ended up mixing two of those APS. Now that I'm happy, I will transfer my sketch on my watercolor paper so I can start painting. Okay, So doing these simple sketches was very helpful to experiment my ideas and decide how I want to put trait Margaret homies don't. So I ended up doing a mix between this one and this one, especially to the orbit. And I will later on to show you why I made that decision. Now, let us start with the painting here. I'm going to be working with data, create tacky. We're colors. And this is a special word, color paper. The brand is Canson XL. When I worked with were colors, I always put some water first. So here I have my my glasses of water. I usually like to have around 41 for each primary color and another one for black. So I'm going to be just seemed this dropper and start adding boiling water to my article. Meanwhile, I wait a little bit for the water colors to absorb the water. I want to explain you my thinking process on how to start. So I always start with the background. My logic is that if I start with the background, because it's at the back, everything that I paint on top, we'll look that it's on top of each other. So that's why I always start with the background. Remember my mood board is background is going to be our galaxy. First, I am going to use masking fluid because I am going to paint the background and I want to cover the orbit. Masking fluid repels the paint. So when I am done, I can pull it off and I will have blank paper beneath. You will see the background first because everything else is closer to us. So by starting with the background is easier to perceive things that way. Remember, I were drawing warm-up lesson, we did at the beginning. Well, right now it's going to help us because we wouldn't need a good pulse to avoid some areas. Painting with watercolors is a great brain exercise because at the same time we need to strategize about which areas to paint first and which areas we should go next. So they don't mix up in waste within 12. But we also have to let the word color flow and accept we cannot control everything. I think that's a wise belly. We can learn from painting with watercolors. So in this case, I am painting a galaxy background for Margaret Hamilton. I will do all kinds of things to get textures. I start working wet on wet, adding different colors. I am doing a gradient from dark blue to pink purple. I will work on different layers, always adding wire and expanding the pain to blur each folder. So day integrate. To create more drastic textures, I put some sea salt on top of the wet paint, imaging the word color is a river and the salt is a rock. So when it dries, it will leave a mark and we are looking for those marks. I also added alcohol and acetone. We'd have gotten swap. Those, make a reaction with the pigment, I will live an interesting texture. So while painting the background, we have to know what do we want to achieve wherever you want may be different from wherever I want. The important thing is, you know what that is and work upon it. So for Margaret Hamilton, I want a galaxy background. Remember, men would work well. Her job was essentially to help men the step on the moon. So it makes all the sense to have a background galaxy for her. Okay, So it's been a while. The background and the mod is dry. Now we're going to start working with our chin. Remember our skin tones some, well, this is going to be super-helpful. But before we start, I want you to look up your veins here. We all know that blood is red. But usually if you'll look closely, what colors can you see here on your veins? It depends a lot on the color of yours team. Probably you will. Something between blue, purple, or green. Probably you won't see exactly Fred. And this is because we have the veins and they will have the most salts. And then we have this keen. And all of those layers are different colors. So we can't seem colors different. Like we don't see the red here because we have, like for example, in my case, I have some kind of pink jello, white on top of the bread, so that makes it some kind of glue. In your case, it may be a little bit different. But I'm telling you this because we can do the same in our paintings. We can start by putting different layers of color. So in the case of Margaret, help us chart, I'm going to start with that. Barely, barely lived like super word down below. First and then later, I will be adding some different colors. This is going to help me. Even. It's going to be super, super light. Ooh. It's going to help me get more natural or ethers, the skin tone color. Okay. So let us start. Okay, so I changed the camera angle because I'm going to be painting the face blue. But I want you to look very closely to the way I'm going to be using the brush to intubate completely different as Hawaii was using it. With the background and the Moon, where my goal was to have some texture here. I want to have like, more like a flat phase. But first of all, I'm going to use my eraser. Another important thing to have in mind when we're painting with watercolors is to make sure your pencil marks are quite soft, especially in the places where you are going to use lighter colors, okay, so keep it as light as you can. Now, let's start with the dual painting. You, you'll want to look at your further reference and look for the different tones skins that you find. There will be shop, there will be parts like it, hub, more shadows. And there are going to be medium tone parts and other parts which have light. So make sure you see that. Okay. This is where I want you to see. Lukoil put very little like extremely low paint and how I move it kind of fast. An item that any drop of water is TE because then I won't be able to to reset. If you live like a big drop of water, it will make you some different spots like this, which for the background was very good. That was something we like and we were looking for, but not on the face. So. The goal here is to make our first blue layer. This is extremely light. The word color is mixed with a lot of water. It's hard to see these layer of paint on the camera, but it's going to help us build our skin tone. I will end up adding some metallic watercolors. Here I am using this onset set by my friend and YL Neil app or unless she makes some amazing handmade watercolors. For the stars, I will mix acrylic paint with a lot of wire and a splash it with an old brush. I caught some regular paper to cover the areas where I don't want a stars. For demand, I ended up mixing bar colors with acrylic and wash when you are working on different textures, I think is very important to allow yourself to experiment and simply trust your intuition. Sometimes things don't go the way you want to. When you are experimenting, you always learn in the way. So my goal here was to make a warm color background with a lot of texture. That's why I am doing all of these. Think about how do you want to make your background and work up and dab. It can be very similar or different. It's free. Important thing is that you like eat the site. What kind of background Canfield up on the story of your character? For example, when I paint married curie, have gradient from going to jail. Hello, gave the radioactive look. Mary Anning chief want all her fossils by the sea. So her background had to be fluid or Ruth Bader Ginsburg shift bytes for a woman fright and that movement color is purple, so it simply had to be that way. Or Patty Smith, she's kinda bunk offer forests are black and white. So do some research about the woman you want to paint of Sarah, her pictures hair award, and ask yourself, what are her colors? 13. Final Project: Details: Well, we are so close to finishing our final project. In this lesson, we're going to learn how to paint all the details. Let's paint the face. Report a here, because the head goes on top of that space. So it's the same logic we use when we start by the background. What we learned about mixing colors in our skin tones lesson will be very helpful. Now, look at your photo reference and we will start building up the color on layers. Start putting the paint on the darkest areas of the face and move your brush very fast, like we weren't doing on the blue layer on the previous lesson. Shared, you have to be very mindful not to let the last word, colors, paint dried, work, very lagged layers in the small arias move the brush quickly and blurred each color. Remember watercolor, Aesop, translucent medium. So we have to ask multiple layers in areas where we want to build shadows. And we have to add little or not paint or paint with a lot of wire where we need light. Observe where a lot of attention during further reference and look where the light comes on, the different tones, variations you may find work as many layers as you need. And when you feel this team two is the way you want it to be worth on the eyes, eyebrows, or any other thing you may find on top. In my case, Margaret has sent back to us. When we go to that, It's time to start with the hair. I'm going to work with the Healing Brush tool free to use whatever medium you prefer. Wash is an opaque paint, contrary to work color which is translucent. So with opaque mediums such as wash acrylic oils, we can work from dark to light because you can have a dark area and the paint is opaque enough that you can do a lighter color on top. That's exactly what I'm going to do here. I am painting Margaret with the gray share our seized nowadays because for me is important to appreciate the beauty in now Asia's. I have been consistent in that murder in all my previous illustrations. So things like that are going to help them look like a series. If you're aiming to work as a professional illustrator, I recommend you to start working on series. This is going to help you improve your skills in a certain topic. Explore it more deeply, develop a recognizable style by being constant in some aspects. For example, in my woman who inspire portraits, I am constant in carrying word colored backgrounds, some elements related to them around bright colors. They're way I draw the faces kind of similar in all of them. I always end up doing some black ink outline and the share is always painted in a wash. And of course that's not the only way you can make up partway. There are many others and may help also don't portraits in different ways. Developing a style and being kind of constant make clients trust you because they will know what to expect if they hire you. So now Margaret Hamilton is rarely all my gosh, I know it was hard to decide who to paint for the class because there are many great woman who inspire me. But now I am happy with the result. I hope you liked it, and especially, I hope you have learned. Now that it's done. I want to tell you what this illustration means to me while I was doing the previous sketches, I really like the idea of including an orbit that connect her to the Apollo 11 as a way to express the important role she played in helping humankind land on the moon. She's a computer programming pioneer now. She's 84 years old. And when she was a working mom, sometimes she took her daughter, Lauren, to the office. Murder. It will often test programs in the simulator. And Loudon like to play astronaut like her mom, one day, Lauryn crash the simulator authorship. Press a button that set off our pre-launch program while the mission was in mid flight. Margaret, you didn't this called Lauren, instead, she was stuck with us. So what if announced two now, if the same thing during our real mission, Margaret loving to add code that will prevent our system crashed from actually happening. If keeping this way of thinking came to define Margaret's work, she'd always asked what if something new normal so will happen habits? Then she develop and test a system that won't be prepared for that scenario. Her what is mindset was crucial through the Apollo missions were the software had to work perfectly and had to work the first time in a space. Keep in mind, this was at a time when software engineering wasn't even a thing. Yet. Margaret's mindset most famously paid off moments before Apollo 11 was set to land. The guidance computer was overwhelmed with fast and underwent a series of gray starts triggering alarmed that full half force an abort. What the theme software was reliable and the priority display that Margaret created, our forecasting clue, let the astronauts and Mission Control know what they were doing with. The eagle was able to land safely, and Neil Armstrong was able to take that one small step. So this illustration is my way of honoring Margaret had amazing Joe and irrigation. And that's why the huge stack of book is here, bigger than care. And like some kind of tears to the moon. I know she has been a huge inspiration for many people, especially are great role model for girls and women in stem. So when you're working on your illustration, make sure you include some little details that symbolize something is special for you. 14. Wrap Up!: Do you got to the end. Congratulations, I'm so happy for you. And I hope you have enjoyed this class as saying aside, if we have seen a lot of information, if there is one thing I hope you take away from this class is that there are many amazing woman who have done great things and in which he called their biographies. Usually there are two constants, the color wheel and perseverance. So we kill an app from them and type that into our artistic journey. Make sure you upload your final illustration down here under President galore, I remember we are global community and in we'll share our final illustrations and a brief story about who she is and why those students by yourself, this can turn into something amazing. Thanks for being here, hope to see you in future classes. Refer you go, please follow my Skillshare profile, add liver review. So also, if you have any questions, drop it down here on the class discussions. I will be happy to help you. Bye.