Adding Personality to your Characters | Illustration and Visual Development | Cara Ord | Skillshare

Adding Personality to your Characters | Illustration and Visual Development

Cara Ord, Illustrator & Graphic Designer

Adding Personality to your Characters | Illustration and Visual Development

Cara Ord, Illustrator & Graphic Designer

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18 Lessons (1h 17m)
    • 1. Class Introduction

      2:54
    • 2. Getting Started

      2:22
    • 3. Stereotypes

      3:17
    • 4. Juxtaposition

      2:48
    • 5. Heroes and Villains

      5:01
    • 6. Let's start building your character

      2:24
    • 7. Personality Mindmap

      4:03
    • 8. Real Life Persona

      7:08
    • 9. Anatomy

      3:52
    • 10. Posture

      4:04
    • 11. Style

      4:26
    • 12. Expressions

      7:36
    • 13. Actions and Reactions

      2:55
    • 14. Activities and Props

      5:26
    • 15. Outfit

      4:13
    • 16. Movement

      4:55
    • 17. Part of a team

      3:56
    • 18. Final Project

      5:35
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About This Class

Hello, My name is Cara and I am your tutor, as well as a long time professional illustrator and graphic designer. I have worked with clients right around the world, if you would like to learn more about me head to my website

In this class you will be taken through the theory and practice of character design and tips and tricks to take your illustrations to the next level. It is a great class for all skill levels in drawing as it is not so much a how to draw class, but a how to add expression, story and interest to your art. These techniques can be used for single illustrations or fully fleshed out stories (picture books, graphics novels and the like). 

The class itself really breaks down each aspect of building a character, right from anatomy to posture and props, to help highlight how to make a good story. The class is accompanied by a workbook which will guide you through your projects and help you layer each aspect of character step by step. By the end of this class you will have a fully developed character as well as all the knowledge you need to create intriguing personalities and stories in your art. 

The class is designed to give you the basics, once you have run through all of the video lessons you will then be able to make quick decisions and repeat the class process in a matter of minutes, making every drawing you create from now on better and better.

If you would like to contact me for any reason you can message me here through Skillshare or reach out at one of the below places (I will always be online, somewhere).

www.caraordcreate.com   
instagram @cara.ord.create

Although I wish I could fit everything you need into one video series, it would make a class so long and convoluted that it would be difficult to watch and there will be way too much information to process. In light of this I have included below a few links to different courses that you can take to help you along the way in your illustration journey. If you have any questions you feel these courses won't answer feel free to message me, I am so happy to talk to any students who need a hand, or just want to chat. There are also more classes on my Skillshare page, I have just made a restricted selection of what I think will be most helpful for you.

Classes that may benefit you:

Drawing can be tricky and getting a likeness can be challenging, If you are struggling with this drawing from reference may assist you to develop a better understanding of posing, anatomy, colour and structure. This short class takes you through how to draw from reference to learn and improve your skills.

This current class is all about adding personality to your characters, however you may not yet have a coherent and consistent style and may find implementing some of the exercises in this class challenging (as it does call for repetition in character design). If you have found your style has yet to settle, we may be ablate boost the process along with this short tutorial series.

This is a class that will come up as you do your video lessons. It is a dedicated and extensive study on drawing the face. The face is the most expressive and important part of the figure, especially when adding in personality, and so I recommend knowing all you can about facial structures and movement before diving into character development. 

If you would like to learn how to draw digitally or if you are curious about the program I am using to create these tutorial illustrations you can check out my class on Procreate. This app is the best illustration tool for the iPad, in my opinion.

Meet Your Teacher

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Cara Ord

Illustrator & Graphic Designer

Teacher

My name is Cara and I am a professional Graphic Designer and Illustrator with 5 years under my belt. I am very passionate in what I do and love to share this passion with others. 

Other loves of mine include ice skating (I am also a professional performer), dogs, nature and snuggling up with a good book on a rainy day.

I am so excited for this opportunity to share my knowledge with you all and learn as well. I hope I can become a helpful resource for you and I am here at your beckon call if you need any assistance with anything I offer.

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Transcripts

1. Class Introduction: Hello and welcome to this class. My name is Kara, and I am a professional illustrator and graphic designer, and I will be your teacher. We are going to be discussing how at personality to your characters in this cost. And it's great for anyone who illustrates anything from a San loan picture right through to a story or character development for future animation. I'm super excited about all the content I have to show you, and we had all easily accessible in a free workbook provided in your projects. How so? Let's take a look at some of the fun things will be doing and the outcomes that you might achieve. If you take on this class in this class, we're going to do everything. We're going to go right from the basics. Fuding out the personality through research and then developing them right from the anatomy and their skeleton. Everything, including all their subtle facial features, the style of the hair and related old back to their persona and what they are inside. Eso is reflected outside here, and they're showing you the potential off different ways that you can portray the same anatomical character but have them have so many different personalities, simple things like the props, the ATF, it, the way they hope themselves and the way they style themselves. Old key. Each piece you're seeing right now is telling an entire story, and I'm not using any words. I'm not using any comic frames. It isjust the personality in the characters I am showing you, and I hope to get your art up to this level and far beyond. This is not 1/2 to draw class, but I do have them available if you want to check out my skill show page. This is the theory behind character development and character design. Herning the style and aesthetic of each individual character to really give them a back story without having to write a backstory. This is great for your standalone pieces as well as your full on story pieces. This class covers so much it covers everything from the anatomy off your character as well as stereotypes and theory. It covers how to make your character expressive what props they might use, where they look in a family and context and even their outfit come along and make a character as they burst as this one with so much personality in it. Improve your characters and level up your art with me. I hope to see you in our first class. 2. Getting Started: thank you for joining me in this class. Before we start, I wanted you to take note of the workbook, which I've left for you in your project references. We're gonna be using this workbook throughout the entire class, and we're gonna be putting bit by bit into our projects so we can see our development. I grow each individual skills necessary to add personality Teoh characters. Now, before you continue, any of the classes were actually gonna add something to our project. I have put in this workbook to example personalities for you to draw and see what your skills rat currently. Now, you can draw these as a quick schedule doodle or a fully finished piece of odd whatever takes your fancy. But while you're doing this, I want you to take note of things that you feel like you're struggling with Okun improve on these could be things like I can't draw boys. And when these personalities is a boy or all of my characters seem to have the same face expression, I don't know how to show their personality their clothing. It could be to do with pasta your characters a very rigid in their pasta It's okay if you have any of these concerns because that is just each a point of growth. Every honest has to go right the way through, from stick figures to doing something amazing, which you look up to you like. A mosque is like divinci or your favorite and then a among a serious whatever it is that you're looking for and striving full. So don't fear just write down these things so you can take note of which areas you wish to previous skills in. Once you have drawn thes two illustrations, please put them down in your projects so I can see them. I might be able to point out some areas which could be improved upon all areas, which I think that you're already amazing at. And also it helps that all of the class can see where we started from. We will also be come back to these personalities at the end of the classes and seeing how it can improve upon themselves. It is vital that you get this kind of brown work done. Just said he couldn't see how much influence in this class. Once you've done these two quick drawings, please come back. Enjoy me for our first class 3. Stereotypes: I'm glad to see that a few of you are putting your personalities into the projects. Don't forget done step. It's really important to just have a starting point before we build on it with all of these exercises that we're about to do eso if you haven't already, make sure that you just drop this. Personalities just public photo into your project. No, it takes a couple of minutes and trust me is worth well, because I can help each of you personally build your skills now talking about building skills before we go into making a specific character, which is what you might be here for. We're going to go through four simple basics that we can use throughout any characters and their visual rules that we can accommodate into all of our illustrations to improve our work and not storytelling as well as our character development. So the 1st 1 I want to talk to you about is stereotypes. Now stereotype is a fixed idea, which is an urban, simplified description of something. For instance, a stereotype can be ah hut but less intelligent super model, a buff gym junkie, a nerd with glasses, a lukewarm who's shy all of those kind of things. So I'm going to go through now and draw you some stereotypes, and we'll continue this in our sketchbooks. So if you want to make a list or draws and stereotypes by yourself, it's a really a really great idea. So I'm just gonna help onto my iPad now and let's get to it. Welcome to the iPad. Here is where I'll be sketching for you to go through some of those more complicated ideas . It is not a digital tutorial, and you don't have to sketch digitally. It's just what I prefer doing. So now we're going through, and I am drawing for different stereotypes for you. One thing I want to add a line about stereotypes. It's not just and I dear about something. It's a strong idea, and it's your first idea, and often it's an extreme idea. So this 1st 1 my word, was nerd, and it turned to an extreme notes, something you might see in American high school drama. The next will be model and then the one after that gym junkie in the last one Japanese schoolgirl and these other first things which I identified with that persona, and that's really what I want to get across in this stereotype lesson is stereotypes of the first idea that comes to mind because often that's what's implanted by popular culture and fuel culture around you. I really think it would be beneficial if you sketched out your own stereotypes. Don't have to be deeds ones. They could be something completely different. Or at least write a list off a stereotype and a description. That way you'll get a stronger understanding off a stereotype so you could use thes later on to develop personalities and characters. I hope you enjoy this one. Here are the finish stereotypes, sketches and I will see you in the next video class. 4. Juxtaposition: so now have developed stereotypes and we understand what they are. We want to go into juxtaposition. Now. Juxtaposition is a toe which means contrast ing elements. So a great way to build a juxtaposition is to take a stir type and flip it on its head. For instance, when we were talking about the hot but less intelligence and model, how about we talk about an intelligence supermodel, which is also the scientists which saves the world S o things like that. So examples I have include some gone, which is really small or lanky but really strong, and another one would be someone who's quite heavily built. But it's super fast, so let's go through and make us in juxtaposition so we can understand the visual language of toning stereotypes on the head. So we're back in the iPad and I m drawing up two different juxtapositions deaths. To give you an idea. As with the stereotype exercise, fill three to drawer long, or just write a list of different juxtapositions that you find. The 1st 1 is a small girl who is really strong, so we're working with visual language. So I took strong and small girl and put them together visually because it has to be demonstrated without words when we're working with character development and personality. So please keep that in mind when you're writing your lists. And also I had heavy and fast. So as you can see here, both of them are actually a juxtaposition off one another, as well as a juxtaposition off the two elements off their personalities. And that's why I draw more than one, because it's really important to see your character with perspective off other people around them. And that's when Jackson positions really come to lacked. Now. I just wanted to hit on that point again. All the juxtaposition we will be using will be visual. The only way you can get around it is if you work. Creating a story. Daniel Juxtaposition may be able to come to light through the story, but it is just better to find a visual cue that makes it really obvious, such as I wanted strong. So I used the visual cue up muscles I wanted small, so I squatted her down and made a comparative person to go along with her for him. I wanted to show you as fast, so I use speed lines. Pretty simple. So remember these tips and the definitions of juxtaposition and stereotypes as we go into our next exercise and stop drawing away. 5. Heroes and Villains: this is going to be a fun class. Now. We just learned about what stereotypes are in juxtaposition is, and we may have utilized them in our sketchbook with some visuals to get a better idea about how to bring them into our art. So now we're going to apply them in this very fun exercise, which is creating a cure or a villain. Here is an villains on only built off of stereotypes. For instance, if I had the power off fire, my hair is probably going to be bread. If I am seeing a strong, I'm going to have lots of muscles like Superman. And if I'm a villain, I may be pale because I'm staying scientist. How many friends? I may be a scientist, so I always wear lab Kurt. I may have some sort of 20 coast by as it like the drunkard always have, which is a bit creepy. So we want to build on the stereotypes, and you also want to build on the juxtapositions. So an example. You might have a female superhero, just strong one and the males to be her, which is the one with the psychic powers on, and you want to build on that with the character and they crossed human pasta. So how about we go straight into it? I'll be creating one of each view for examples of anyone who wants to make a hero or villain. And once you have developed this character, please put it into your project. And then we can all see it and see the wonderful development that you have made using simple techniques of stereotypes and Jackson position. So we're starting off here with, ah, hero and hero. I was like, OK, we need a super palace. So I was like, My superhero will have the power of flight and will work from there. So the first thing you'll see is the pose and the pose is off flying pose, a very generic superhero reposed that is bleeding in with my stereotypes. Then there is costume, and the costume has wings, and it has a big F I don't know for like Balcon or Flying Girl. And because she flies, she gets a cake. Super heroes wear capes, so I, like, just went through just thought of the first, more stereotypical things I could do. And then I was like, Well, I want to do. Lester took all things too. So, uh, my super here is women, which just happens to be less of a majority. Ah, she asked short hair, and I just like she flies. Why would she like long hair in her face? And also, she is a darker skinned character which isn't as common in the super her. Well, just because of when superhero has begun, it wasn't over rage? Uh, yes, there just went in. Did basic colors superior seem to have the urn color scheme. So remember that when you're developing your here and voila, you have a super here. You can see she has a little bit of personality to her and everything with the expression in her face and again the posture. Next we go on to our villain and I decided I was gonna have a sneaky feet slash laboratory villain. Hey, end up looking a little bit like the bad guy from Kim. Possible because the skin color and behest on which I chose complete coincidence. But, you know, you sometimes have to get inspired by something, and I guess it's from Kim possible from when I was 10 years old. any way you could say from his posture that he is really sneaky. He looks like he's just been called at, and he's about the attacks on one with his legs again, I put props on him to identify. He's a laboratory, a trend, and that is all of those little vials. And then I woman him to be sneaky. So he's closed are like a big jacket, kind of hide himself. Very Doc College on being a villain. He normally has a little bit of a deformity over discoloration, and that is why he is trouble turned in his skin. So these are the two together. You can definitely see a Huber and a villain here. I want you to give it a go. Remember to use the stereotypes and juxtapositions to create something amazing. I can't wait to see them. So don't forget to leave your superheroes and villains down in the projects for us to see. We would love to guess what type of powers is superior and villains have, and also just see the wonderful collection like a Marvel universe down there. So, as I said, caught way to see them and I'll see you in the next video 6. Let's start building your character: so where herpes guys had fun developing this. Superheroes and villains don't forget to put down your projects so we can all see them. And I can give you some helpful feedback on your work with juxtaposition in stereotypes and never know we might have our own universe sitting down there in the projects. So now we have developed our Super Harris. We're going to develop our characters now, so these might be characters you're developing for a story. Or you might just want to bring more passing out to you all. Leave your drawings and illustrations or make that next original character. So we're going to go through, and we have a bunch of exercises to do so make sure that you have that little workbook handy as well as your sketchbook. If you want to work in your sketchbook and make sure that with every single video from now on, they complete the cause, exercise and post it into your projects because that is the best way to develop is if I give you feedback and other people might love your projects and be really invested in your characters and you're up Skilling that you're doing if you're uncomfortable was showing your drawings in this public form. Don't worry. You can just come to me with any questions or any ideas you have in the discussion below. I Wilbur's want everyone. I really feel that it's important. Teoh. Invest my time in your girth and help you develop your skills as illustrated. So that further do we have a lot to do? We're going to start off with personality mind mapping. And then we're going to find a persona which is in the real world to reflect off our characters, to see what stereotypes they can bring to our characters or what uniqueness we can build from them. Then we're going to go into building the structure of our character with your anatomy, their poster in their style. Then we'll bring on the external elements, such as their activities, their actions and reactions, props they might use as well as their outfits and finish up with finding where our character sits in the world or a team. There's a lot to do to get started. So how about we go straight into our first class on building a specific character 7. Personality Mindmap: starting off in our workbook. We want to build a personality mind map. So I am going to hop straight into this on my iPad so I can build a personality, my map for you to show you the character I'll be developing as an example in these classes . And you can follow along and build it for your own character. So you can see here we have a mind map basics, which is in your workbook if you want to take a look. It's our character and the center of the mind map and five key headings, which is circumstances, activities per file, interest and favorites. We're going to go through each of these now with my example character, and I can show you how to fill them out. It's something really basic. It takes nor research. It's just to get those ideas out. So starting up with profile, it's basically everything you put into a Facebook profile or, ah, job profile. Eso This character is 15 years old, She's Australian, lives in the Blue Mountains, and it's female. Then we go on to activities, so she likes to go bush walking, breeding an animal care. This connects to her interest. So Adam okay connects the wildlife bush. Walking is nature, and she likes exploration, which is also I had to do with Bush walking interests and favorites. Also crossover, because her interests are wildlife and nature. So her favorite color is green. And her favorite thing is her pet dog actually also really into food. And she's into books because she liked reading. So you see how all of these connect all of them are very much crossover headings because our personalities kind of it crosses over many different avenue's. And finally, we have circumstances, which is really important. Hey, is basically, uh, if they're of age, whether your presence of single in a relationship, what family they had, what world they live in. So if you're making a fantasy character, what is their world? Are they a wizard? Are they a princess of a kingdom whose father has been kidnapped? The circumstances? A little bit of a back story to show us what this is all about. My characters, a contemporary character. So they live in the current age. Uh, that means they have all the technology of the current age up. They live in a rural area. They have a mom, a dad and a little brother. Pretty small family. And she has the freedom to adventure because her parents that strict this is just a quick base. You can fill it in if you want to. You can stand an hour at and you can spend a whole day making a novel behind your character about really, this is just beginning a stronger idea than a complete, uh, one sided, One quick frame of your cracked up. An example. This one started off. I knew I wanted to do an Australian sort of version of door the Explorer. But old offer an older audience at this is to go along with the book Siri's about Animals. So that's where I saw that my I need to flush her out because that waken at all these little nuances where people are really absorbed by the character and her personality. So this is all those nuisance that I could think off. Go away now and do the same for your character or characters. Remember, if you're working with a different world to our current world, you may have to flush out more in circumstances and explain Maurin their interests because they might be interested in alchemy or something. And that's not something which is relatively common now in contemporary society. So go ahead, have a bit of fun with that. Please leave your mind map in your project so we can take a look. And we have a bit of an identity for later on. When you end up drawing this personality, I hope you have fun with this task, and I'll see you in the next video. 8. Real Life Persona: great job on there's my mats. They could be as simple or as complex as you desire during out to spend too much time on them at all. It's just joining down those first ideas of what you want to bring to your character. Now we have a bit of an idea weapon to go in, and we're going to make. It s so not reflected off real life characters and card fictional characters because an example. If you have decided that you want to make a wizard, I don't know anyone who's actually was it. So you might go to LAX High Porter or Gandalf or whichever off those range off fictional characters that you think might suit where you want to place your person could eat me someone in a video game. Now, before we get into this exercise, I want to reiterate that this is just a research we're not mimicking of real life or fictional character that's already developed. We're just seeing what ideas, what visuals and watch parts of their identity are stereotypical and what pots are necessary to bring forward the idea off. Was it athlete to keep up right or anything like that? an example. I might want Teoh be developing a read up so I might go on to book True and see some readers on their or a librarian. And one thing that's Central Cross all of them is that they have books. They would have books on them, so I'm not taking the hair color and eyes in their exact personality. I'm just like all of these people have books because they love books and they love reading , so I need to bring that from them. Now let's go through with our contact up, which I'm developing, which is a adventurer, an animal lover. And I'm going to be using examples such as Dora Explorer and video and to see basic ideas that I could bring into my character to portray that animal lover, nature loving, kind of feel as well as an explorer. You should do so with your personal as well. Let's get into example right now. So the first place I went was instagram, and that is a very good place to go, especially if you're working with a contemporary persons or someone who will be here in the real world. What I went through is I went and looked at Hashtags relevant to my person. So what kind of hashtags of my person news if they were posting on Instagram, especially as a 15 year old girl, they're really into animal conservation and wildlife. So I went and I looked through on images there and people there who would be relevant sources of inspiration for me. One thing I noticed is that a lot of people that had cameras on we're taking photos, so I had to include a bit of photography into my person. Then, looking at Instagram, I found bendy own was a massive poster. She's also one of the biggest personalities here, off animal conversation conservation in Australia s So I went, looked her up and a story zoo and went on to her to the page. As you can see here, she has some photos of with herself and animals as well as mostly posting about the animals and the research that they're doing. Uh, he she is with a friend zookeeper, and here she is exploring. So I kind of took photos and that inspiration. One thing I noticed every rule was her outfit, and every time she's and about heads up, out of her way. See it again? Then I went and looked back on Instagram to just see any other photo reference that I could see related to her. And that's what you can kind of do with your contemporary persona that you're pursuing. We might be a celebrity and might just be someone who you look up to. For instance, if you're persona that you're trying to portray is an artist, you can look up different artists. What they put on the night instagram, how they act, what they post, what props they have around them often have a dress on. All these things are important. Then I went and I looked up other conservation a lists. I cannot say her name, but she is a skin and avian conservations, which works with the rantings. On day I went looked up photos of her visual references and what she does you can see. I was also on Google doing a bit of image searches again on Windy, but I also went and looked up women conservationist. That way I could see in overarching identity, and a lot of it had to do with Chicago. Very neutral clothing. They don't have many possessions on them when they're out in the field. They always cuddling up close to an animal in these photos, just cause that's what National Geographic tends to capture. But they didn't really care too much about the appearance. That more important thing, what's the animals? So I have to take that in consideration with my persona. From there, I mean himself a little cheat sheet. I looked and I took down all of the hashtags, which I was using, and some identities, which I think we're a great reflection of my character, whether at th years or in the future. You could see here that door appeared. I did a lot of research indoor and her character development, how she portrays herself, how she interacts with the audience, which she doesn't Spanish, and also the new movie that's coming out, how they portrayed her in a more realistic sense just to get a bit of an I D. Of the idealized sort of cartoon version off the personally I'm looking yet and the real life persona not that I can bring into it this again. I could see that door is not really much endure, period she's more into the event shot, all of them where running shoes study clothing. So these are all things I can take and add into my personality and character, which I'm building to make her more believably and adventurer and an animal conservation A list. The last thing which I did researching was also just look up. 15 year old girls, mainly just close friends and friends, which I knew worked with animals I used to work in do keeping. So I had a few friends like that and just see their appearances, especially when they're doing mawr activities. That way, I had a more age appropriate look and feel not looking at all of the well established animal conservationists, which is quite a bit older, so you can go away and do this. Now I have left a little sheet in your workbook, which is just there. You can paste in pictures which you find your research. You can also just take notes being like, Well, I like scuba divers and all of them have a boat, something really simple like that, as well as maybe hashtag that you find on social media books that you find relevant, especially If you're working with fantasy or sci fi characters and any Web pages which you think would be great to go back into to assist you in your research, you can just do this whether it's online, like on your computer or by hand, take a snapshot and put it in your projects, and I'll see you in the next video. 9. Anatomy: you guys will be happy to know that our research is done and we can get back to the literal drawing board. So now we're going into anatomy. We're going to develop the structure of our characters now. This is their skeletal and muscular structure as well as their facial features, not worrying about hair or anything like that, yet just the based structure of your character. So I'm going to go into my head now, and I'm going to show you three different structure types that would be political for my packed up. And I'm going to feed off what I've learned about personas and through my personality mind map, because the structure of your body comes a lot from your lifestyle, your activities and your interests. So let's get into it. Here we have three different an enemy types. I'll be a building for the example persona. Now, if you remember in the personality mind maps are, persona is very healthy and active. She does Bush walking. She does animal care and exploration, so each of my three personas are going to be showing a healthy body image. She's also a young girl, so she won't be fully developed. She'll still have a bit of that innocence about her appearance, and she wouldn't be capacious like you might have in an adult figure. Now I want you to think carefully about your persona as you're doing these. Because, for example, if you had a game a guy, he's not gonna be super muscular. He might have a little bit of a potbelly going because he doesn't do a lot of exercise. And the only exception is if he had a job, which made him active like a policeman or firefighter. Or he did marathon running for fun, he can see three different versions. The left is kind of a standard version, more based on a Caucasian body type. The center is a little bit based on marijuana and islander, but it's to represent an aboriginal Australian, a little bit stuck, your muscular but still very healthy. And then the final one is a body type related moto, a marathon runner up, and is quite lean, all of them as showing my key features of this persona, which is athletic, healthy, adventurous and Australian. You'll also see here that I have three completely different facial shapes and facial beaches at this is because I want to really make a unique persona. So I have a wider face with big eyes, big nose, another one's got skinny knows and all of that. Another thing you can event defy is that I actually colored thes illustrations. You might. You can just do this with swatches if you're doing in your sketchbook. But I really think it's important to add color so you can identify race and culture and that sort of stuff and had a pallet to work with in later illustrations when wet. Creating these. An exception is if you know for a fact that you're never going to draw a character in color , and they'll only be black and white. But if you're doing this, you have to make sure that you represent carefully those facial features and body features , which are part of the culture and race that you're bringing forward so people can identify and know for a fact what this character is supposed to look like in their head. Talking about this, I will be having anatomy specific classes coming up next month, but I currently have two different classes, one on drawing portrait from reference and one which is all about drawing the face, which might help you along with these anatomy projects. These have fully fleshed out causes, so check them out if you like. But for now, please fill out your three sketches of different anatomies for your persona that you created Elia. And I am so excited to see them down in the projects, and I will see you in the next class in the next year. 10. Posture: So how did you go? Don't forget to add all of these little pieces from your workbook into your project so I can see them and help you out. Now I know that now we have the night of your character selected. You kind of want to rush straight into it and just draw them because you think it's all there. It's all there. But hold your horses. We have a few steps to go to really add that personality or character in these, the most important. So in this lesson, we're going to go in through pasta and pasta is key because the way someone holds themselves makes a drastic difference in their cousin and how you see the I'm a total person and there are other told people, and we might all seem exactly identical except the fact that some of us shrink ourselves down or we build ourselves out when we use our height to be dominating. So we want to really express that Iraq. Carter. I'm gonna show you posture up with my character with three simple passages to show different size of her potential personality, and you can do the same with your character. If you're having a bit of trouble with this, Please message me. Another great thing to do is if you're having trouble developing the posters. But you know what you want. Simply grab your phone off someone to make the pasta or do it yourself and take a picture so you can see what it looks like on a person and then bring that into the anatomy off your character. So let's get into it. Here we are going with three different postures. So I have gone form or off generic pushes for you guys that you can specifically go through with your character. And let's say they're confident character do three different poses representing that. But I'm doing different pots of my character, and I'm also a said extreme. I think so. I've got confidence, self consciousness and fidgety and energetic. My character is confident when they're out exploring their self conscious when they're talking to other people, cause they're more of an animal person on their affinity and energetic all the time, because I just want to get on and they want to explore and see new things so he confident. Hands on hips are feet are shoulder width or Maura pot in our shoulders or really pulled back. Shy our shoulders, wrote board. We're looking down, no direct eye. Contact our feet, almost turning a bit pigeon turd, and we try and make ourselves as small as possible. And when you're fidgety and energetic, this post could really be anything but you're almost walking. You don't know where to put your hands. You don't know where to put your feet on your eyes would also be going around in heaps of different directions. I recommend other side before finding some reference for all these images, so you can better create these postures on Really focus on bringing a personality out. For instance, if again with the game, if you're a bit of an antisocial character such as a game A. They would probably be a bit slumped because they're always in the chair of the time gaming . They won't have direct eye contact on, and they potentially be looking down a lot. So these are things to consider again. You want toe. Make sure that you're thinking about all the extra anatomy you put in. For instance, an angel. Their wings might pull their back back a bit so they might always have a bit more of a proud stance just because of the weight of their wings. But consider that and consider how these appendages would pose as well. So that's basically it for this. Do your three postures, or you can do many more if you want to do more off a quick sketch session and leave them old down in your projects so I can help you out and take a look and I'll see you in the next video class. 11. Style: So we have anatomy and poster now, so our characters getting more developed, adding layers and layers on them. Now you be like, OK, close them yet? Well, not really, because there's another step we need to take. And that's style. We're going to style like characters now, so that means things like their hair when they were makeup or not, that touches anything that they can edit about their actual physical body. Now your character, like I said in previous videos that might have a missing appendage or robotic pots or some other feature that's caused by either their race, whether they're an alien, all that sort of stuff. So you might want to count that into a style. For instance, if they had animal ease or antenna or tail, they might treat that a bit differently to take that into account my character. Just when we're going into it, I'm gonna be focusing on the facial region because she is a teenager, so she won't have too many extra body bully changes. But if you can't has tattoos or piercings are, as I said, other pinches which may not be human, you may want to go and do this exercise before their entire body. Okay, I'm gonna head about to my sketching station. I hope that you do, too, and we'll see them together in the projects. As I said, I will only be doing the face, but you can go ahead and do the entire body if it's applicable to you. Uh, I've got a teenage girl. She lives Ruli. So she doesn't really have any piercings, so I don't need to worry about doing full body. And as she's only 15 in contemporary society, she's unlikely to have a statute, even though I do sneak one in in one of these stylings. So the main thing to focus on in the styling is you're keeping the anatomy exactly the same , and you're just affecting what the character can actually change, so the character can change their eye shape, but they can add makeup in the scar to appear so. So as you see here, I've drawn a template underneath before I develop everything. Furthermore, the character not only style their hair, but they can color it and add details that way. So again, I would recommend going through in coloring garage like I'm doing now. Character Kimble's also add color contacts that they feel like. But as they are content, character emails will just have their eyes as their actual color. You can see here I've got P. Singh's tattoos and three different hairstyles, the one which is focused on the right has make up on. I didn't think this would quiet suit my character, because the fact she's an explorer, she goes rural E uh, so she wouldn't really carry make up with her. It's not a life necessity, and I ended up going with the first option, the one on the left, because you just simply has her hair tied up and she's ready to go. Maybe a little bit of look close on there just because she is a teenage girl, after all. But I really just wanted to identify with the fact that she is just a go getter and an explorer, and I looked back at her real life personality examples that we did earlier, such as Indio and End. When they're working in their active, they don't have much styling to them. That's why I also let her hair being grown out of it, because that way, she's not regularly going to the headdresses and getting it styled, etcetera. So she's just dealing with what she has, really, and you can go through. You might have a superstar character again. You may be in fantasy or sci fi, so you have to take all the considerations of the world, your building and how they would be styled. In that way, you may have tattoos which identify the stature. They might be, for example, on a say shit like in Star Trek and have to have a specific uniform and style for military purposes. So you can really work with style and focus on how you want your character styled. Overall, I did three heat. You may do more just because you may have more to explore than I do again, especially if you're doing in a world outside of our world. So I'm looking forward to staying these down in your projects, and I'll see you in the next video list. 12. Expressions: just before we continue with this next class. I wanted to leave a little disclaim it here. I understand that people might be starting to feel that these exercises are a little bit TV's and they just one that can be finished. But this is all building on your skills. Eventually you'll be able to put all of these different techniques into a single drawing straight away. But you need to learn and understand the material. First, build a character slowly overlays. Understand the importance off each aspect of adding personality to them before you can bring it all together into one character straight away. So please there with me and continue these classes step by step with your character learned or theory behind what we're doing, and then you'll be able to put it in to every character straightaway as your drawing. This lesson is going to be super fun, and I recommend you do it repeatedly, especially as your style made progress and change and author to identify the differences in action, reaction of our characters and also the differences in their faces. A lot of beginning artists tend to find what they consider a style, but is really a repetition of drawing the same character over and over again. So figuring out this exercise, which is a drawing nine expressions, fewer character, can you very beneficial, because you can see how their face moves, how extreme their emotions and reactions are, and that can differentiate your characters a bit more. So I'm going through with my example. Card are are Dora is character on, and she is going to be portraying the nine emotions I have on your worksheet and a couple extras just to give you examples. My cell isn't too extreme. So if you're looking for more extreme style, great places to look are animated feature films and cartoons. So this might be things like old Cartoon Network's or enemies or anything that you find basically because they're animated. They could have super exaggerated expressions because they're showing for a short period of time. It's really beneficial when you want to develop all of those emotions into the characters. Also, you want to consider. Will my character ever look in this emotion? You might have a very serious character which will never ever smell so they're happy in the side may look identical, So you really want to figure out how your character react and then draw that. Don't just draw your serious never motive character in for the smiley things on because he might look disjointed and not like that character to really keep that in mind as we do this process. So let's get on to you are sketchbooks, workbooks or, for me the I've had right now and how to go at this exercise. So we have those nine different emotions. If you look into your workbook, you'll see each individual, a merchant such as happy, sad, queasy, tired, bored, excited, surprised, all that kind of stuff. So we're starting off with the easy ones. We're starting off with happy, which is the base emotion for this character. She is quite a chipper, happy girl. When you see this character, she's only telling you all about her favor animals. So she's really in ties to do so. Then I went through, and I just made a blank face for all the other emotions that I'm doing. This is so I'm not changing the structure of the face unless I have to change the structure of the draw. She's not that extreme. So she doesn't really have that. Just so you're not going to read drawer, uh, your character over and over again because they might change. They look completely again. If you're doing extreme emotions, that hair might flick up, they might have a different fish. Eight. But for this girl, not so much. So as you see, we have gone through sad and confused. Now, a lot of the expressions come through eyebrows and the mouth as well as the eyes in relation to those different areas I recommend during that also the blushing or the coloration of the skin. I'm not using color for this exercise, and you don't have to eat up because it would just like it takes a lot of time when you think to draw all these expressions, and I want you to carefully think about the structure of the face over developing a color scheme for them all. But just be aware of when you think the character would be blushing more when they're be more pale, such as when that queasy and just have that accountable in your head. So as you can see, I've finished off the first line now and we're working our way on, you can see in confusion, I added. Some question marks extra her because that's kind of like a stylistic choice for me, but you can also just have it with the expression. I have a little bit of animated things coming in here, such as when her eyes kind of disappear completely in tired. It just depends on the level of realism in your style. I've tried to do the style fuel that was kind of 50 50 cartoon realism, so you can get a sense of what it might look in both wave. But again, Cottam can be quite a bit more extreme and especially the type of cartoony used. The culture, which it's from may have specific signals to identify different emotions, cause some Kenly look quite similar. If you also have any issues with this, you can look up references online using such as Pinterest, or there's many drawing boards. What you can just see People make these different expressions so you can identify the key factors, such as surprised the people shrink in. So I just had the ire shrinking as well, because of the shock when people are really excited, that smile opens up into almost a laughing smile to those of things to consider a swell. So how about you have a go with this with your character or your characters? It is absolutely great exercise. As I said at the start of the video, I recommend repeating it, especially if you have more than one character or your style changes. If you've reached this point and you find that your style is a bit stinted, that you don't have a flexibility of expressions that you would like, I do have a course all about how to define and loner on style here on school share, which all I'll just put up there right now and will be down in the description or on my skill ship page for you to see, which might help you find a style which is more expressive or a way for you to be more expressive in your faces. Because the expressions, as well as the postage is, is how he bring the internal personality out. Also, if you have a style which is reminiscent of a different cell such as Cartoon Network, you can see how they portray emotions and trying to reflect that in your characters and converted into your art style. And that is a very good tool and a very good lesson for you to teach yourself just fun to, because you can just sit watch cartoons all day while you're drawing on, and it gets you a better idea of how to make your character more expressive. I can't wait to see all these expressions down in your projects, and I'll see you in the next video Listen. 13. Actions and Reactions: I see you've now developed your expressions, and I really hope to see a lot of them down the project so we can see and develop them. Now we have a little bit of a theoretical cost. I wanted you to just consider the actions and reactions that your character would take. This going to help us with our next couple steps. An example. The character, which I'm building as an example, should be quiet, fidgety, so she is not likely to sit down for four hours with a book. She hardly ever would play any video games unless her little brother made her. She'd be very active. Always doing sports and exploring have everything to Dio is this really is Bush walking and finding new animals and writing about them in the notebook and taking pictures of them? She's quite careful. She wouldn't be too rushed to go into something overly dangerous without her as a kid because she understands there's risk toe. What she does is a risk to her exploration, Um, just quite considerate of others. She has empathy with animals, so she would never hurt an animal. And her reaction Teoh. Anything like that would always be to blame. Humans have analyst trust symbol, so you can see that I've kind of thought about how my character would react to certain situations, how she would make actions. So just like drop this down somewhere might be in your workbook, you might just have it in your brain already how your character would react to certain scenarios. There's also a bunch of different things online, if you want to, for developing written characters, which would be great for this. But it's just something to keep note off a sui continue. And also when we're talking about actions and reactions, as I was saying earlier, would they actually express their emotions in this way? Like Are they cry? They cry a watch when they said, Would they just turn away so people can see their emotions, things like that to consider Princey talking about evil with it, such as Voldemort? He's reaction to anything which doesn't please him is to kill it on. But he doesn't really express his happiness openly. He always has more of a serious, very superior base of everyone. In the only time he experiences a reflection of joy that we can see is when it's causing criminals pain. So he's reactions of very specific, so really develop everything around a ranch character now and we will move in to our next class, which is all about the activities. 14. Activities and Props: let's move on from actions to activities. Now, as I was saying for my example character, her activities mainly consent, saying animals befriending animals and animal husbandry, which means taking care of them. It includes a lot of bush walking and physical exerting activity, and she also likes to take photos of the animals in which she encounters and the phone and flora as well. So the plants which are around eso when developing that I was like, How do I help you guys express these activities? And the most important went to express activities is actually through the items which your character carries, which they interact with, how they interact with them, because when we're developing her characters and maybe for a single use purpose, such as just like one overall illustration or it might be for full on story and they won't be participating in these activities in every single frame of your story. You just want people to be aware that this is the type of character and personality that they're dealing with, just as if I liked sucker. I don't play soccer all the time, but people would know I do because of the shoes that time I carry around in my schoolbag all the fact I talk about or where a lot of soccer jerseys okay, does that make some understanding? So now we're going to go into the exercise for this, and we are going to be lining up the props for character to demonstrate that they're in these activities. I am sitting a lineup such as What's in your bag kind of layout, because my character will carry everything in a backpack because she's an explorer. So she leaves a sort of pneumatic sort of a lifestyle when you consider her in a story. So let's help onto the iPod now, and I will show you a demonstration of how to lay out these props. I hope that you do the same thing and remember this exercise more is actually more so. Fill the entire page of your workbook with any props that you think off that your character will use and which goes along their personality. So here, as I said, I'm working with a what's in your bag kind of style, and here I have a backpack with all the different items that she would use for the activities I have identified. So if you've got in your activities, remember that in our personality mind, Matt, we had an activity section, so you can go there and figure out what activities your character would participate in. Also, with our research that we did over left personas, we would have seen those activities. Remember when I said that all of the animal conservationists I see had cameras so my person would be do food photography and as such had the camera and camera equipment? With a lot of these different things are the notebook that she journals about the animal she sees, like running shoes, which are highly important, and a bowl of water. Some of these things can be the clothing items, and some things don't have to be things that the character takes with them. An example. Your character might be a samurai warrior, so they're Armagh and their sword is really important. But they might have a family relic, which they don't take with them, but it's at home, and it's really personal part of the personality eso. You might want to take that in consideration when you're developing all of these different props for your characters of the said before more is more so fill things that I even added a pack lunch in a yo yo in there. Some vials for collections for her research, different things like that. So, yeah, definitely taken consideration. The lifestyle which your character leads have prepared your character would be for any of the activities that they do and have fun with it. This is really good fun. I would suggest going round and coloring it yourself. And if you're really confused and you're doing a contemporary character, you could always just look at what's in your bag and what you would do if you're doing any of these activities. And if you're doing a fantasy or sci fi character, look again at references off Brooks literature or movies and video games in that style and see what those characters carry. For example, if you have got someone who is starting a civilization, you might wanna look at Minecraft and see what tools are in your toolkit. If you're doing someone who's going on a long journey, then maybe what did the hobbits carry in their backpacks? If you're doing a wizard, do they have a one? Did they have a staff do they have hat on? And if they're an alien, what kind of things are staying need on their alien planet? And, yeah, what would they need to dual there? Sci fi stuff. Do they have a tricorder? Do they play video games? I don't know. It's up to you. It's your world. It's your character. This is a super fun exercise there. Have fun. Put it down your projects and I will see you in the next video lesson. 15. Outfit: here is a set a lot of you have been waiting for, and this is developing your hacked outfit now. The reason I've waited so long for this step is because your outfit consciously like they like wearing skirts and tops. You want to bring in oldest pieces of personality that we've developed into their outfit and their clothing because clothing is the biggest signature that they have a good example off this is ash from Pokemon. He always wears polka bulls on his built. He has very sturdy clothing, and he's got a signature cap on, and that outfit is very renowned within. His character develops his character extremely, especially in the simplistic soil in which the Pokemon theories I was illustrated. Eso you want to keep aware of that when you're developing your outfit for your characters again. It could be developing outfit for a one off character in a beautiful illustration over a story very important for a story that, um, the character states and sort of consistent clothing because you want people to instantly recognize them so your clothing has to resonate with all the activities that your character has to do. It has to have props in it that were discovered, and it has to match the styling of your active that you already built. So we're going to go through right now, pop back into our sketching area, whether that's your notebook, your workbook or a digital device such as I'm using. And we're going to develop 3 to 5 different outfits for our characters utilizing the props which we just signed on, as well as all the personality traits and the personas that we looked at earlier. Let's get going. So here I have basically building up the body off character that we've been working with this entire time, and I am just going to outfit her now. I'm taking a lot of my inspiration from Addison, my personally mind map and all of the personalities I found when I was doing my real life poseur, not research. Also, I had her favorite thing, Big Green end with her persona. Research all of the war, very natural colors, very green colors. Another thing you want to take in to consideration is all those props which you spend your time building. I didn't draw her backpack on her, but she will have a backpack in each of these scenarios, but I did draw her with the Run I or hiking boots. That way she always had something study and reliable, which goes along with the activity she does and the personality she has. As you can see, he I didn't change anything on her or her hair. It's all just her outfit on and take into consideration again. If you had a character which is working in some sort of military organizational school, that the outfit would have to reflect that. And you want your outfit to fit the majority of scenarios that your character would be in, especially if you're telling a story. For instance, if I put her in a ball gown, unless she's a princess, it's not going to be suitable to the majority of different things that should be doing. We're getting her feature look in her feature personality. Now, if you're doing this for standalone illustration, I probably wouldn't have drawn out up so many different versions. But you can just do a quick little thumbnails to get an idea of, Let's say I want a drawer, a fairy princess, three different bowl grounds that you think might look good in different colors on. And then you can put that into your final illustration. When you work it all out talking about color, please make sure that you do this in color so you can see how everything works together and how it reflects on your character. As I said, my favorite favorite Qala of my characters green. So I wanted to work like that in the color. I hope you enjoyed doing this class. Can't wait to see your project down below, and I will see you in the next video class. 16. Movement: you may have seen the title off this video and going a little confused because it says movement, and we are not working animated in this class. We only working with illustration. But the reason I tiled movement is because we want to see how character would move, and it goes a lot on with pasta. So in this class, I've actually developed three individual examples off different activities that a normal person would have to do. Thes include walking cycle as well as riding and handling a ball. Now I have chosen a standard activity, a positive activity and in active activity, because that way you'll be over. See how your person deals with old three. An example. If they're mad scientists, they generally wouldn't be interacting with a ball that, such as in a sport such a sucker or nipple or possible. So they might be a bit awkward and clumsy because that's not what they going out. But they might be really into writing and reading on and might be quite America and really inspired by that. And they obviously have their signature walking style because everyone does. This activity is great, as I said, for if you have a stand alone piece or a full on the story that you're capturing, because in your Sandlin peace, your presence just probably not just gonna be standing still something like this. They might be during an activity. So it's great to see how they would do that. Eso We're going to go into it now. I have our character which was developed as an example here, as well as three random other characters to join in to see a contrast in styles. So, you know, just saying one example If you have any questions again, laid down discussion, and please don't you finish all of these different toss one by one. Please ask them to your projects so we can discuss them and help you improve at a quick pace and enjoy the classes. So let's get into it. So we're gonna start off here with the writing, the passive exercise eso I'm comparing her to her little brother Now. When I talked about my character, I said she takes notes about the animals, which she is studying in the natural habitat, so just quite used to not taking, so she's quite calm about. It also shows 15 so she's in high school, so she has a more mature riding sell. Her brother, on the other hand, is a lot younger I and highly creative eso. He is a bit more energetic and he is a little less tame. Hey, also is shown with a crayon rather than a pen in the next one. We have our active activity and this is handling a bowl. I thought this be great because it is much different from walking cycle. It still has a proper test to be contained. S O R. Key figure is she's always out and about, so she is quite athletic. So she's really confident handling a ball, while the secondary character is probably a classmate more but bookworm type who really doesn't know what to do with the bowl. Not really comfortable in that situation. Both of them have a unique pose and pasta as well as expression, which helps identify their comfort with the activity. The final and most important one I'm showing you is the walking cycle. So I'm comparing our main character, Teoh, another potential classmate. She is very energetic, very determined because she's an explorer, so she knows adventure is out there. Eso She's very first foot forward. Let's get to it. High energy. Her class in eight is more of a stereotypical teenager on their phone, very lazily strolling, not really caring about the external environment. So let's look back at them. We have our riding style contrast. We have our full handling style contrast, and most importantly, we have our walking stock on dress. So I tried to do to quite conflicting personalities for each, so you can get a bit of an idea for your character. I really hope that this will help you in creating your three different activity styles. It's really important class. It gets you to understand your character empty. Start using all those different techniques their pasta, their outfits, their props, their expression, all of that to create at the personality which you're seeing on the page. Please give it a go. I'll see it down in the projects and I'll catch you in the next video class 17. Part of a team: So now you've completed that the movement You had everything that you need to have built your character. I'm really hoping that you found your character signature personality. By now, you should be really happy with the progress that you have made. Our final thing we're gonna do is fit character in with others. Because, for example, it might be a sizing like they're quite small old lodge in comparison to others. And we want to show that I'm building my husband a specific skill that we want to demonstrate. So we have two ways of going about it. My first way is to fit them in a D and D team. So that's dungeons and dragons. So you might have things like your strike a strong person, which is tank, which takes all the damage. And then you have your robe, which is secretive. We may have your Persians, masters or wizards, or just an ordinary night, and you want to see where they fit in with. That s so you can draw up all these characters if you went to or just slow, it's with them and fit your character and see how they look in a team If that is your style , you can always be like they had to fit in a sports team how they fit in an exploration team . I'm happy doing that on or how they fit in the world, how they fit in with their family. So they may be a kid, or there may be a father. You want to see how they fit in in that scenario, especially if your character has something unique about, um, So let's go in this contest me a sketch cause I'll be a lot more personalities involved going through on Just see where your character fit in next to stand people as well as other characters, which may be sooner in their life. So here we are. We are fitting at our example character into her team and for her team. I decided to go with her family as she is not fully grown up, and I thought that her family could always assist her on her journey to discovering animals and taking care of them. So when you're doing this, start off with the character that you have been developing and then just make quick sketches about the ideas off the characters around them. You can do this with any characters that you may be building for a story that need to go together. Maybe your character is part of our relationship, such as family or romantic, so you can put that in there and just give it a go. Take heat off height and body proportions and the differences between characters and trying to make them old relative to one another. I really hope that you enjoy this exercise and you get a feel for how your character used in perspective others, as they said, it's a really important exercise to see how your character works in the world. And in addition to this, you could even go and see how your character relate to their environment. So their house, if they have a contempt, acidity how they look when they sit on the couch, how big is a desk and compress into them all? You know, this family is a teeny tiny family which goes exploring and animals of massive in comparison to them s Oh, yeah, definitely seeing them within their environment is great. In example, in Lord of the Rings, you had normal sized people betraying hobbits so they made their environment larger to make the characters appear smaller and they really use their environment. Teoh reflect that signature look off the characters and their race. Eso Seeing your character in context can be really cool. Can't wait to see your character in context. Down in the projects at this is your final lesson. So come back for the last the final forts in the last piece of the project and I will see you in the last video. 18. Final Project: your character is now fully complete and fleshed out. And if you haven't already, please put away your workbook materials into your projects so we can take a look. Also, I would love it if you made a fully fleshed out illustration with your character in it. So we could all see wonderful progress that you've made. But our final exercise, which I am slipping in here, which isn't in the booklet, is to redraw those two personas that we did at the start of our classes. I really want you to redraw them and to use the skills that you a blunt to practice in these post minus it might take you 10 minutes. You might take a little longer and really delve into that with, um But I want to see what your 1st 1 looked like and with your last one looked like and progress that you've made in building personality in their characters. Please. If anything, just put your first month and lost ones into your predictions so it can see your improvement. And if you have any further questions, place well for you to ask me in the discussions off this class, I'm more than happy to help. For now, I wanted to give you a little surprise and draw you at our example character in eighth setting that she might be in for a story here. As they said she was Australian. So she is hugging a koala in at the Bush Land of Australia. This is just a quick illustration for you guys to show you my appreciation for your taking this class and also show you a little bit of what's possible. We have all the lessons that gift, but I've gone in and created a super simple environment, just working with things from the Bush land. Active news reference for this illustration. But if I had made toe, not better. So before I leave you, I just have a couple more tips. One is once you have finished designing your character, do like I do and sit them in an environment during an activity that is made for them. That way, you'll really be able to see them in context and know if what you've done is right, or if you need to do a few tweaks before starting your major project with them. This illustration. I can now do anything like it stand alone with all of the tips and advice that I have given you, I can build everything in one, go in my head instead of having to draw at everything like we have. So I recommend watching the video lessons maybe a couple times over, just so you can go straight into making a beautiful personality and character's and live ing up any single one off your beautiful, standalone pieces. Now I'm gonna let you enjoy, and I'll be back at the end of this. - I really hope that you enjoyed these classes and coming along with me on this journey. If you did, I have a bunch of other Scotia causes available arranging from how to find your style as an artist, all the way to drawing from reference during faces, everything in between and if any of that interests you, please just head to my skill chair page and select which costs is a good for you. For now, I'd like to say bye and again. Thank you. I hope you have a lovely day