Transcripts
1. Introduction: I really love colors and bright colors to
make me so happy. Colors are actually the
biggest focus of my work. Calcium traditional
artist Shraer. I usually use pleas and watercolors to create
stylized portraits, and my art is inspired
by the fashion, the pop culture, also
the fantasy characters. I usually read lots
of fantasy books, so my work is also inspired by the
characters I read about. I use inks and watercolors to
create stylized portraits. I think the idea of creating stylized portrait
buildings and watercolors, might sound quite
daunting to you because of the permanency
of the medians, but there is a way you can
work with this median and make the process less daunting and even more forgiving
and therapeutic. So to summarize, in this class, you will learn how to create a skylize portrait
from story to finish. We'll cover the fundamentals
of watercolors, the right weight plan to
create smoke radians, how to work in layers, achieve vibrancy in P. How
to use linework to add contrast to artwork and more
dynamic source references. Choose a limited
color power that clearly portrays
the more trying to. This class is perfect
for beginners, but if you are
intermediate artists, you're trying to
explore possibilities. This can be good for
you. Start showing.
2. Your Project & Materials : Gin, I'm so glad that you
decided to join in this class. The project for this
class is simply to create a stylized portrait, we'll be using a
limited color palette, and we also get help
of a reference photo. This class is aimed
at all skill levels. Throughout the lessons, we'll be doing exercises to practice each element of creating a stylized portrait
with watercolors. We'll start with
the BC watercolors, then we'll talk about blending. Since the blending is the most important part of
the watercolor. We'll talk about blending. Then we'll talk about a
little bit of inking and how you can personalize
your inking skills and how to make
it less daunting. Also, we'll choose a reference, then we'll start
working on our project. To complete our class project, the first thing we'll be
needing the watercolor paper. The paper I'll be using for
this class is from Arches. It is 100% watercolor paper. This is something I use for every illustration
that I made. But if you're a beginner, we will really recommend
you getting this one because it in the
expensive side. You'll end up wasting
a lot of them. I feel like you should get something that's a
little bit cheaper, but make sure it's just 100%. We have this paper here. It's called Ba hog paper. It is very inexpensive, it works very, very
well like arches. I really recommend you getting this one if you have it
available where you live. But there is another
paper that is literally available everywhere that
is called son paper. I used to use it all the time, so I really recommend you
getting that if you want to. The next thing we'll be needing
is the watercolor itself. The watercolor I'll be using
is from St. Peter Bur init. These are great
quality paints and they're not crazy expensive
either Windsor and Newton, Windsor and Newton
is super expensive. Next thing we'll be
needing or the ng. The I'll be using are
from doctor Ph Martin, these are bombing,
and I really love. And I've been using
them for quite a while. Is part are optional. If you have only
watercolors, that's fine. Lastly, I'll be
sketching on iPad, so we'll be needing iPad, but if you don't have
one, that's fine. Pgular pin paper would work. Yeah, regardless of
whatever supplies you have, let's get ready to
create magic, shall we?
3. Practice: Blending & Layering: This lesson is going to be
all about blending layering. Blending is actually
the most important part of watercolor is
fundamentals of watercolor. Before we can move on to the actual painting and
actual cross project, we need to master
our blending lesson. This is also something
that I use that is huge part of my work and this actually describes
my whole process. Let's start with
what is blending. Blending is actually just a grad and created with watercolor. This wall gives you
that smooth finish, there aren't any harsh edges. So now let's discuss what are the techniques by which you can achieve
this smooth finish. There is basically
two techniques, wet and wet and wet
on dry technique. Let's start with wet and wet. This is exactly what
the name suggests. While we get the
paper wet first, then we go ahead
and put the color, put the first stroke down. As we move along,
we are going to be introducing more
and more water into the mixture to create this
smooth and flawless finish. This is the technique by
which you can achieve this flawless flawless
beautifully blended looks. The next technique is
wet and dry technique. For this one, we're not
going to wet a wa first. Instead, we're going to
straight with the paint. As we go along, we'll mix more and more water into
the paint mixture as we did for the wet and wet to
create a smooth transition. For most of the
work, I use wet on dry technique because I
feel like wet and wet is more like for
covering larger areas and get those smooth
finished look. Since I mostly paint
characters with lots of details on a
comparatively small scale, I feel like wet and wet gives me more control over
what I'm doing. Also, if you think your co
looks very desaturated, doesn't have the
impact that you want, doesn't have the
depth that you want, you can always put several
layers on top of each other to achieve that very
vibrant and contrasted look. So layering is actually the
only way you can achieve this mood like a very vibrant and contrasted look
with your watercolors. Yeah, I know, I'll just use very concentrated
watercolor, but it also, you can always do that, but it also makes the watercolor
process less forgiving, even if you have
some imperfections in your first few layers. By the time you
made several passes into it and you also
achieved that depth, your imperfections
will be invisible. I think it's one
of the best way to achieve that vibrant and vibrant and contrast to
look with the watercolors. As I said, even if you have any imperfections in
the first few layers, by the time we have made
several passes into it will be invisible
because first of all, we started very light, it
wouldn't be very stark anyway. I think it's very effective and it makes the watercolor process less daunting as well. Now, another way
adding vibrancy to watercolor painting is mixing a bit of ink with
the watercolors. As we do watercolors
are variable medium. Even if your layer is completely dry and you're doing
the next layer. If you're very vigorous with your brushes, if
you're not careful, it will disturb the
layer underneath and it causes a lot of problem. My way of avoiding that
all that trouble and everything is to mixing a bit of ink with the water
with my watercolor. It not only helps with
the vibrance itself because water inks are very concentrated.
It helps with that. Also, since I use acrylic ink, when it's mixed with
watercolors itself, it makes watercolors
less variable. Basically, I don't
have to worry about reactivating the layers
underneath once it's dry. Also, here's a caution for
you that you can't use kings very directly from the bottle because it makes
the suffers very classy, so you wouldn't be able to
add more layers after that. So we just discussed
blending modes and you also touched on how we can use layering method to achieve that very vibrant and smooth finish with your watercolors. But when you be trying
it out for yourself, you'll find out that it's not really as smooth sailing as
you thought it would be. There is always going to
be this learning curve. Next, we're just
going to discuss a few beginner problems that I faced that you
might be facing as well. Let's talk about mistakes. The first mistake you might be making as a beginner
is not letting each layer completely dry before you do anything
on top of it. What I mean by that is you start up doing very
nice wet on dry. Everything is planning
out smoothly. When you go ahead
with the next layer, before the first layer has
dried, has completely dried. What happens is water on
your brush mixes with the somewhat dried first
layer that you just put and gives this effect
called cauliflower effect, which hinders you from achieving the smooth
vibrant finish. The next question is, how should we avoid it? Answer is pretty simple. You just need to let each
layer completely dry. Even if you find
some imperfections in the first layer
or if you think your layer is too light for
your taste or too pale. Or if you're just trying
to finish it up quickly. Whichever is the case, do not try to do anything
before it's dry. You can fasten up
the drying process by using a blue dry or whatever, but just don't do
anything before it's dry. I know it's hard to put
the test because it's our instinct to go
and try to fix that, but don't try it don't. Just let it try and put
another layer on top of that. This is also why it's important
to start light so that even if it's not as
perfect as you want it, you can always fix it
on the next layer. We just finished
learning the basic now we have the basic
understanding of blending and how it works,
what are the mistakes. No thought time to practice. To practice together, I made two exercises
for us to practice. First one will be to create a two color blend using
wet on wet technique. Second exercise will also
be a two color blend, but we'll be using
wet on dry technique. I understand two color
blends are quite tricky. I feel like it's very important to learn and also in choosing the colors for your two
color blend as a beginner, I would recommend you choosing analogous colors because they
are quite easier to work with as opposed to complementary colors or
split complementary colors. B is analogous colors that
sit right next to each other in color we
transition well together. Whereas the complementary
colors can be a bit tricky. What I mean by that is, let's take this
example, for instance, in this latation I was trying to create a gradient between
dark red and teal blue. Which are complimentary, quite
complimentary in nature. I ended up accidentally mix them together and ended up
with a triclo bland, which I personally
didn't like much. Take this illustration,
for instance, I create a gradient
between pink, to green. I was careful to
not to mix them and I created quite a
seamless bland here. We're going to start wolf
with the wet on wet. First, we're going to choose
our colors, of course. Mix them, have them
ready on the side. Then we're going
to go ahead with the water because we're
doing wet and wet first. We're going to make sure our paper is nice
and evenly wet. Then we're going to go
ahead with our first color. Per the first took down
as we're moving along, we're going to be introducing more and more water to the
mix to create a gradient. After it's completely dry, we're going to move
on to the next color. We're going to rotate our paper, repeat the exact same
process we did with the first color. We're done. Next, we're going to do
the same two color blend using wet on dry technique. I really, really
encourage you to continue practicing because it is very, very important to have
quite the grasp on the blending and
layering part before we actually move on to
designing characters and stuff. We will be using all the
techniques we discussed in this lesson in the actual
cost project itself. Feel free to put your practices on the project and
gallery section because I would love to
see your practices itself. With that, we can move on to the next lesson, see
you in my next one.
4. Practice Inking: Line Art : I is the ultimate way to give contrast and
tip to characters. This is also the most
anticipated part for me in my drawing process. So we are more or less familiar
with cubit fine liners. But in this lesson, we're going to be taken by N and we'll be practicing
cubit brushes. By this might sound
daunting to some of you, but believe me once you
develop those must memories, is going to be one of
those things that you most anticipate about
in your painting. Develop them as a memory, I've divided this class into
two exercises basically. The first excise we'll
start by practicing some basic strokes that
we'll be using throughout. Then in the second exercise, we'll be using
those basic strokes and we'll discuss how you can use those basic
strokes and how you can combine them in your
actual illustration. You can find these exercises for downloading the project
and resources section. What are the basic strokes? There are actually two
types of basic strokes. Strokes and downstrokes. Let's start with strokes. What is bstroke? This is just line drawn in
the upper direction as gusts. We're going to start at bottom. Then we are going to
have a light line gently curving towards the top. Fall alongside with me and practice using the
guidelines that I provided. The key here is just press
light and create a ten stroke. Next we have a stroke. Instead of pressing light, we're going to be pressing
hard for this one. So we'll just start
from the top, then we'll press,
make a straight line. Same as upstrokes,
were not licking, are trying to be very nice and consistent with each
and every stroke. Also, by pressing hard, I don't really mean you have to put all your stent brushes, but it's all about finding a nice balance between pressing too hard and
pressing to hide. Next, we have a
transition stroke. Transition strokes are basically a transition between
upstroke and stroke. This one can be a
little bit tricky, so make sure to be a little bit patient of
yourself, I think. We're just starting
with a light stroke, then we move up and
we are going to be putting a little bit
more and more pressure. And as we reach the top, you're going to be releasing
the pressure again. It's like kind of making
a skinny as, you know. As I said, this one
is kind of a bit tricky and takes a little time
to get used to be honest. You can also try it out
in different brushes, and like say if you've
got a new brush, you haven't really used it yet. So you can practice these
strokes with your brush to have a little bit of feel for yourself before you use it on your actual
drawing, you know? And I actually use
the combination of the stre strokes and my actual painting You'll
see how much depth and character you can give to
illustration just by using these three basic strokes
and combining them stylistically to
give your character your own unique flare. Now, let's move on
to next exercise. I put together a
few small tration for you to do line of
ground with me, of course. You can find this tration for downloading the project and
resources section as usual. Make sure to download
them and print them out. The next big question
is how you can use these basic strokes and what are the rules to
combine them together? To put it blntly there aren't any different rules on
which one to use were. But I'm going to give you my few personal tips
on which to use were. Basically, you want to follow the basic shape of
the certain object. So take this leaf, for example, when doing the outline that gives it the shape of the leave, it helps to use thicker
strokes like down strokes. You can basically
emphasize the shape of that object and give
it a more character. But you see me using
transitional strokes here. Because I want to give
it more character. That's why we have
transitional strokes. Which not only will emphasize
the shape of that leave, but it will give it more
personalization and character. As for the veins,
I'd use up strokes, which is which are
very thin strokes, which are best for detailing. It's perfectly normal to get one kilons at first
because I got that too. You'll be probably getting them, so don't be discouraged
as an end note, here is a side by
side comparison between linework done with fine liners and linework done with the brushes,
using the basics. Here you can probably see how much depth and
contrast you can give. I hope you enjoyed
this lesson and seem. Next one, where we'll gather some references and inspiration
for our final project.
5. Mood Board: Gathering References: Personally, when I'm looking for references or inspirations, I usually look for poses and clothing references as well
as fantasy photography. I really like some fantastical
elements in my work, so that's why my art is
always puzzling with magical creatures wearing
wing liners and space buns. But your choice might
differ from mine. You might prefer to some
doodles, typography or flowers. I use painters to
find my references, but feel free to use whatever platform you
might want to use. Okay. I also made a Pinterest board for
you as a starting point. I have linked in
the resources tab. Fee free to check it out
or made one for yourself. But one thing to remember
when using references, we really don't
want to copy them exactly or make a replica. It really helps if you
have a mood board going instead of referencing
from one photograph. Yeah, make sure to do that. So personally when I'm
looking for references, what I usually focus
first is the pose itself, how the shoulder is going to be, how hands are going to
be, things like that. Sometimes it can get a
little bit difficult to find references for
that exact body type, but the exact pose you
might have envisioned. So I can get a little
bit difficult. So I'm always collecting references like
always I kind of save whatever pose I find interesting
and I save them into my Pendras mode and later I come back to it to
basicli it in part. The next thing I focus on
is the makeup and hair. I usually for this part, I usually don't look for
exact references since I have a more fantastical approach
to the here and makeup. Here I'm more
focused on the shape and the flow of the heir
or overlook of the makeup, maybe certain makeup trans
and stuff like that. I can have an idea and can improvise
from there, you know. Then if I already know what motives I want to
incorporate in my illustration, it always helps to collect a few references
for that as well. For example, here in
this illustration, I want to include some flowers, but I'm not really very
best at drawing flowers. Here I look a few references
from different angles, so I can break them down in
the actual illustration. Please do take your time, find things that really inspires you and make sure it contains all the things you want
to have in illustration. Make sure you have
a mood board going, so you have a vision
board basically. Here's the references I picked. For this illustration, I got
inspired by this pose here. In this photograph and also I got inspired by
this photograph here. I really like the eye
makeup, lesson, guys. Do not forget to share mood board in the
project gallery section. In the next lesson, you'll
choose a limited cop
6. Choosing a Limited Color Pallete: In this lesson, we're
going to be choosing to co for final project. I think colors actually colors are very important to me
and my process as well. Simply depending on what
kind of colors you choose. You can literally change
the whole mood of the illustration and what kind of mood you want to
portray with that. To me personally,
brighter colors makes me feel like vis the
oranges and stuff. Whereas darker colors
makes me feel melancholic. I think it's very
important to choose a co pallet that
works well together, also depicts what you want to portray from all the
different possibilities, choosing a color pallet that
works well together can be quite overwhelming
and difficult as well. I think what I do
for my ustration is I choose a limited
limited color pallet. Basically, I choose
limited amount of colors and I can repeat them. We'll learn how to choose
limited cull power that depicts your mood and how to repeat them in a way
that it makes sense, and the whole us wholesome. Let's start with what limited
call power really is. When I speak of limited
culpow what I'm referring to is
basically selecting a very limited amount
of colors and repeating them in a way that
creates sense of balance. When we're working on, we've got many many decisions to make. Anything you can do to limit options doesn't
really hinder you. I think it actually
does the opposite makes you focus on
your creativity instead of So here are
the few reasons you should use limited
cup to work as well. Firstly, simplify the
decision making process. It's of course easier to pick five colors that works well
together instead of 15. Secondly, it gives you
a sense of harmony. Basically, limited
carpi consisting of three to five colors
that will help you see the relationship
between the colors more easily, and you can depict which color works well together
and which don't, which in turn helps you
create a well harmonized and balanced It can also help
you define your R style. When we are talking mas
and illustration style, what we're really talking about
is a certain consistency. It could be the
consistent in the color, or it can be the
subject matter as well. Colors that you often
pick or the move Ms go for have huge role in finding your actual
estration style. Let's look at one of my
illustrations, for example. Here I use a limited cat
consisting of turquoise. Orange and yellow. I repeat that Tarc is
more times than other, it creates a sudden focus
in the face itself. Now, we have seen
one of nine tron. Let's look at some other it's illustration to get inspired in tons of colors
and composition. First illustration by Adrian, actually it's quite
nice and simple tration also it's quite a
limited cold as well. She used y as the main color and others are more
like an ax in color. And they're placed in such a way that your eyes could move
around the whole illustration. The next cation is
by Megan Hunter. As you can see, there
are quite a lot of characters in here, but she managed to repeat
the same colors in a way that it creates a harmony and balance
in the illustration. Lastly, this one is
by Laser proctor. She decided to use back
as the main color, which is quite imiqu
orange pop up color. You can clearly understand
that we really don't need many colors to make a
nice well balanced cation. I think we have a
basic understanding what limited car pallet is and how artists use
that in the cation. Let's try and take a limited
car pallet consisting of three to five colors
for our clo Personally, I like to start the color that I think is most important to me, which is the face color itself. In my Illustration style, I use very exaggerated sent instead of what
is more realistic, if you prefer to
use realistic sys, I think it might not be a
very good starting point. You can consider what color is most important to you
in this llustration. Also the mood you want
to portray with that. C something very
simple like if you have a cute animal
in your composition, you can start from there or and you have a
specific hair color, you want to choose, you can
start from there as well. With that, however, first color. From there, you
want to think about what kind of sensation you're
going with this tration. To put it simply, if you're trying to create
very harmonized and soft look, you might want to consider analogous colors which are next to each other
in the color veil. But if you're trying to create a very contrasted
vibrant look with your, you might want to consider
the complementary colors that are sitting opposite
each other in Core. So for this illustration, I'm thinking of going
for a very vibrant. So I think I'll choose this very vibrant violet
blue color that I got. This ink is from
actually doctor Ph one. With this, maybe I should go for a yellow since it's quite
complimentary to the blue. Yeah, we can mix a little bit of green so that you can
have a mellow yellow. Like a crenew Maybe that
also have a pink ones. This is call power
rough color palette that I've chosen based on the moodboard and and the feeling I have
for this flustration. But it might change actually. Keep yourself open to any other artistic choices that you might be
making as you progress. You do not have to strictly choose the coll
palette at this point, but we just want an
idea or rough base. Usse my next lesson, W we do the sketching.
7. Sketching Your Character: Now that we've got
some references, and also we have
petro coal palette. Let's start with the sketching. For sketching, I use
Procreate on my iPad, and then when I'm done, I usually trace it over
to my watercolor paper. The reason why I never drily sketch on the
watercolor paper itself is because I really feel like it damages the
tooth of the paper. Even if I were to
sketch traditionally, I wouldn't really ever sketch
on the watercloor paper. I would sketch on the
car bit of paper, then after I'm done,
I'll trace it over. You can always choose to sketch
it directly on the paper. Make sure to be a little
bit light with your hands. Also you can use other
digital software if you'd like, do what you want. I like to have the mood board in front of me when
I'm sketching, especially when I'm just
starting and laying down the foundation and
the composition itself. I feel like having a reference in front of you really helps because so that you don't
have to sketch from the memory and so that it
can be a little bit easier. I like to use a split screen. It's basically having
the moodboard and the canvas open
at the same time. When I'm working on procreate, I like to use this H pencil that comes with the
procreate itself. I really like the
texture of the brush. Whenever I'm working
on procreate, I always use it always. Usually start the
sketching itself by having a rough
past to figure out the composition where
each element should go in the illustration
in the canvas. Then I go ahead
with some shapes to understand the tilt of the head and positioning of the
neck and the shoulder. I actually don't really go into too much details
in this phase. This phase is basically building the building the composition, having the base itself. So we can build upon that. Also, this is like
visualizing the visualizing, samarizing the mood
board or what you had in mind and putting it to
your canvas basically. Next, I put some details
like nose, eyes, and mouth. I actually use a very
rough guideline to help me place the
actual feature itself. I basically start
with the circle, then I add arc to the bottom of the circle
to create this oval shape. This is the base of the phase, and then I divide both sides of the
phase to the eye line. From there, I draw die, die brows, and the
nose and mouth. To be honest, I
don't really exactly follow these guidelines
and rules itself. I draw the way that
works well in my style, but these guidelines are here for you so that
you can play with it to help you find and
define your own proportions. Do not let yourself
be constricted by these guidelines like feeling like you cannot get out of it, you always have to
follow because you don't really have to actually
can always play with it. Also here in this stage, I also put some other
details like hair shapes, bit of hair strings, and but not in too much details. From here on I use kind
my instincts to guide me. I do recommend just sketching it out if you're not sure about
something and try it out. If it doesn't work well
with the composition, it can definitely delete
it and can move on. This is why I like
to sketch digitally because it just gives
you more options to tweak and twist and try a few things more out
without wasting paper. From here on I keep
refining and refining. Each time I'm
refining the sketch, I like to create a new layer
on top of the previous one. I keep on finding the sketch until I'm
pretty much happy with it. And when you're done
with the sketch, happy with how it turned out, you can export it to
a gallery to export, just simply need to click on the action panel and then then select share and then you need to choose the format you want it to be exported.
I'll choose a PNG. Done. Then it's our
time to trace over. For tracing, I use my iPad. If you have a lightbox, you
can also use that as well. But if you haven't got one, you want to use
your iPad like me. You can simply download the
app called lightbox trace. Here is our final sketch. I really like how turn
now to be honest. In the next lesson, we'll
be moving on to the colors. We'll be carrying
our sketch itself. So see you in the next lesson.
8. Face: Applying Blending Technique: This is the lesson where all
our practices come together. Remember the exercises we
did a few lessons ago, the blending exercises,
we are about to use all that knowledge to
our actual illustration. I always start with the
face because I feel like the most important part of
an illustration because if you get the face of your character right
here up to a good start because if you don't
get that right and you might have
to start over again. Because if you start from
another part and finally, you come to the face
and mess it up, it is going to be a very
big loss of your time. I actually put the
initial blob of color to the main
focal areas like the cheeks and the nose and everywhere where I
think the blush to be on. Then exercises we did
a few lessons ago, we discussed the wet on dry
technique you remember. This is what I'm going to do. Here, I'm going to use
wet on dry technique where I'm going to just put
a initiate blob of color. Then I'm going to
quickly wash my brush, then I'm going to try to bend the edges out so that
I can have smooth finish. One thing here to make
sure is cure brushes damp, not wet, you want to dab it on a paper
towel or something. After that, I'm going to repeat
this wet on dry process, a few more times to
have a more vibrancy to my is a process of
working from light to dark, so it will naturally
create a smooth blend. You can work with watercolors
in a way that makes the process more forgiving
by working in layers. That way, if one of your layer is not as
smooth as you like, you can definitely fix
it in your next layer. Fixing your mistakes,
it's really easy as opposed
to if you were to use really intense color to
achieve the vibrancy and once you made a mistake
with your colors, and it will be very
difficult to fix that. As you'll see me do here, I'll be doing the
same process of wet on dry technique where
I put the blob of color, then I blend it out, and I'll be doing it many, many times so that I
have the vibrancy, I have the depth that I want. In this stages, do not
worry about making every layer perfectly smooth
because as we move forward, we'll be fixing it, actually. Don't worry about it, have fun. I think it is our time
to move on to here. So soon next lesson.
9. Hair: Layering Color For Vibrancy: Now that we're quite
done with the skin, we're going to be
moving on to hair. There is actually numerous
way you can color, you can go about here. There is so many textures, so many colors to choose from the way I go about here is quite similar to how
I approach phase. We'll start from
the highlight area where the most abundance of hair is and we'll be following either wet and wet or
wet and dry technique, and we'll be repeating the process of wet and
wet on wet and dry, whichever we want to choose. We'll be repeating
the process unless until we have the
depth that we want. If it is a smaller area
you want to paint, then wet and dry would be easier to control
than wet on wet. Wet technique might be
good for very large area. As you can see, it's
just a matter of putting color down
and blending it out and you want to be
very quick with the step. You do not want to
paint it just to dry. Otherwise, you would not be
able to have the smooth in. Let each layer completely dry. You'll see me switch around
from one side to another. It is just to let each layer dry and so that I don't
have to wet around. You can use a blow
dy if you want. But it is very important
that you let each layer dry. To make it clear, you
put a color down, then you go ahead with the clean damp brush to smoothen it. Let's say you have a semi smooth nish It
has put as you like. It is our instinct to go ahead
and try to smooth things up when it's just starting
to dry, but do not try that. Instead, we're going to
switch to another part of the illustration and let this layer completely
dry and after that, we're going to be
coming back to it and try to put another
layer on top of it. I understand it can be a little bul covering
in larger areas. That is why I work in section. If you're painting skin, then your face can be one section, your neck can be another
and the body in another. That way, you're not
painting a larger area, do not have to
worry about having one part drying
another part knot and not having a smooth spinis. As for the hair, we're going to use the
section steel plantae. That way, we're not painting
a very big of an area and prevent one section from drying before you're
dealt with it. We're just going to be taking one section into
consideration at a time and take that to a good point and we
go into the next. So it is easier to get a
consistent look with that. Before it is switch brushes. If you feel the need to, if you're covering
a very large area, you might want to
use a bigger brush so that it will
be easy to wield. So we're almost
done with the hair. So in the next lesson, we'll just be finishing with
the hairs and the bit of pink and we'll see you next.
10. Contrast: Inking & Final Touches : King feels no wracking at first, because we feel like
once we make a mistake, there is no going back to it. In this lesson,
we're going to talk about things that we can work our way around to our mistakes so that it
doesn't feel as racking. So we learned all
those basic strokes, and now we're going
to learn how we can use those basic
strokes to our actual to give your
more character and make your lines
more dynamic. Yeah let's get
started, shall we? Whenever we talk about inking, we kind of think like inking
with black ink and stuff, but we're not going to approach the inking that way
just yeah, actually. First, we are going
to be starting from if you have a base
color, say orange. Then you want to use a deeper
orange to start the inking. I'll just use a deeper orange
to map out the hair shreds, then I'll go ahead with
something like brown or black to finish the inking process
to have additional contrast. The next question
comes is which stroke, which basic stroke
do you use wear? There is no specific rule to it, but let's take this shape
into consideration. We will mostly be
using the downstrokes and the transition strokes for the line that makes the shape, we'll be using the upstrokes for the rest and maybe a few transition
strokes here and there, so that is not very monotonous. We can use downstroke, our transition stroke to
give a line more character. But using mostly
transition strokes, use the strokes, upstroke, downstroke and transition
stroke wherever you like. Make sure to mix it
up a little bit. And you shall be fine, okay? We can now move on to shape. We'll repeat the process. This is just to
pronounce the shape, the flow of the hair. I'm really happy with
how things are going. Now just going to be
some finishing touches. We're going to be adding some
lines to the eye proros and eyelashes and the
flowers here and there. We are finally done. This really turned out well, and I hope you'll like her too. In the final lesson, we'll
just be wrapping up. I'll see in the next lesson.
11. Conclusion: Massive congratulations to you for making through the class. I know it was quite a long one, and we have made
it so well done. So we have covered a lot
in this class, right? If there is one thing I
hope you take away from this class is it's how
you can achieve a bold, vibrant look with
your illustration and the contract
that it's needed. Thank you so much for
taking this class, and I hope you enjoyed it as
much as I loved making it. Oh, I hope you're able to create something
you're really proud of. And make sure to share your
creation and project in dires section because
I would love to see what you create after
watching this guys. Fee for me on Instagram
because I'm always there, feel free to tag
me and you create. Also, I do share
many cat videos, that might be a catch, right? Thank you so much once again. Keep learning and keep creating.
Rufi, Traditional Artist & Illustrator
