Beginners Guide To Cartooning | Eric Faries | Skillshare

Beginners Guide To Cartooning

Eric Faries, Never stop creating!

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7 Lessons (1h 7m)
    • 1. Class Intro

      3:25
    • 2. Basic Shapes

      3:13
    • 3. The Skeleton

      7:28
    • 4. Anatomy

      7:34
    • 5. The Head

      17:00
    • 6. The Body

      11:40
    • 7. Backgrounds and Perspective Basics

      16:14

About This Class

Every been watching your favorite animated show, or reading your favorite comic/manga and thought "it would be so cool if i could make stuff like this!" Well, in this class i'm going to help those who have never really drawn much before get started towards being a cartoonist!

This class goes over the VERY basic things, this way even if you've never drawn in your life you can learn enough to give you somewhere to start.

Transcripts

1. Class Intro: Greetings, everyone. My name is Eric, and welcome to my new class in this class, I'm gonna be teaching you the very, very basics, you know, kind of just get you started with what I call cartooning or drawing cartoons. Now, what is the cartoon? Very simply put, it is a super simple slash stylized art form. It's used a lot in animated shows. It's used a lot of comics. A swell is like advertises on TV. You're see knows or even in newspapers, magazines. It's seriously just a really simple art style. Some examples would be things like The Flintstones, Loony Tunes, Cartoons, Avatar, The Last Airbender, TMNT, the teams being into Turtle Siris. Both the older ones and even the new one is just under three D cartoon animations, many more even over in Japan, you have things like Dragonball Z, full metal alchemist. You know, those are all basically cartoons. It's oversimplified styles, exaggerations of things. Now. Art forms and different styles will change kind of what things look like in the final product. And that's not what we're talking about here. That's not what I'm gonna focus on here. I'm just gonna focus on basics and things that think about, um, style is something you'll develop over time. It takes time to do that. And it all depends on who you're influenced by, you know, different artist that you admire and look up to and learn from. So that's all the things that really take time, and that's not gonna be here. Here is just going to teach you some basics, some beginner level stuff to get you started so that, you know, kind of where to begin and where to move on from now. In the beginning, I will mention this because a lot of it is a bit of a tab. Food kind of subject is tracing. There is nothing wrong with tracing in the beginning, when you're learning how to draw, there's nothing wrong with it. Basically, what it will do is it's gonna teach you kind of hand coordination and muscle memory of how things should be shaped how forms air done, and it gives you something to kind of mentally keep Hold off. Now, it's not something that should that you should rely on. What you should rely on is learning how to break figures down. And that's something I'm gonna be teaching you about. And also make sure that you do have influences to trace from or to learn from. Influences are going to basically kind of teach you how to draw on how to develop a style because you're gonna learn based on do you like who you enjoy and what you see. That's how all art is created by what you visually see. So if you're influenced by certain types of artists, that's kind of how you're gonna draw. And don't worry. If you're being a little too close to them, you will develop your own style, just change things, do things your way, find something different that you could do that you like and that you enjoy. So what you're gonna be seeing me drawl is my style, you know, based on my influences. So you don't have to draw exactly like me unless you haven't have similar influences, which should be apparent just from watching how I draw. You should be able to kind of tell where I pick and grab my influences from, but anyway, let's move on to the first part of our lesson and basically just get into the thick of things. All right, so I'll see you in that one 2. Basic Shapes: All right. Welcome to the first part of our little Siris on how to draw cartoons in this one. I'm going to kind of help with the kind of groundwork of everything. The very basic stuff that you need to know. Now what I'm doing here is I'm working digitally. Which means I have a drawing tablet minds a screen tablet so I can see what I'm doing. Um, using a program called clips Studio paint E X. It was previously called Manga studio to some people, but it is now clips Studio, Um, the tools that you use can be pretty much anything from pen and paper or pencil and paper to digital stuff. Like a computer. You can also use a tablet like an android tablet, your iPad, surface pros and all that stuff. Anything where you could just get around in drawl, use paints. You can use a whole lot of things. I'm using this because it's just easier. It's the way I prefer to work. And it's also cleaner for you guys to look at. Um, also, I apologize if you happen to hear any squeak noise. My chair, unfortunately, makes a very loud squeaking noise sometimes when I move, so I can't do anything about it. Yeah. First thing I'm gonna do is we're gonna start with a couple basic shapes that you're going to see. Ah, lot of art schools are gonna kind of teach you these basics shape. So I'm just gonna quickly show him, just so you know what they are? Um, the very basics Shapes are very simple. You have, um, use black ink. You have your triangle, you have your circle. I cannot draw a perfect circle to save my life. And then you have your rectangle. Now these air flat shapes. If you're gonna talk about three dimensional shapes, you have the pyramid, which is you know, if you ever see the pyramids in Egypt, I've never actually drawn a three dimensional pyramid. But I think I am not very good at drawing certain things. Though the three dimensional shape would be a pyramid. This is hard to do in three dimensions. So what you got to kind of imagine it's the same shape. But if I were to come over here and I cannot draw to save my life today and shade 1/2 this half is going off in the shadows. It's basically a severe a sphere, that's what they call it. And then you have the final shape down here, which in three dimensions would be considered a cylinder. And these air basically your basic shapes that used to create a lot of things. But the only reason I don't like kind of the basics of teaching this is the only two you really use are these two sets here. These two sets is the sphere and cylinder or circle square rectangle, thinking I have personally rarely used this as it is. But what you gonna do? All art schools teach it, and I figured I might as well show it real quick, just for the sake of showing it. But more importantly, what I'm going to show you is a basic skeletal figure. 3. The Skeleton: So a basic skeletal figure that I'm gonna be shown you is just kind of the breakdown of think of it like a skeleton, but simplified because, let's face it, you don't need to actually draw an actual skeleton unless you're drawing done. Actual skeleton. So for me, it breaks down. Very simply, I have shape for the head, which I'm gonna go ahead and draw the chin as well, because it is a skeletal figure. So this is how I draw a very basic it again. You're not gonna draw the same way I am. So don't you know, don't fret if you don't draw exactly like I do, um, these little lie interior your across areas, these air dividing that face into some of the sections you need later. I'll talk about that when I get to the head itself. I have kind of my neck region, which usually goes round roughly around here. I draw next. Then I'm going to kind of draw roughly where the collarbone is, and I'm gonna troll basically effectively a rib cage ish kind of shape, which I just do with a kind of straight line there for the collarbone. It's going a little lower. So obviously your shoulders would kind of tuck in so your shoulders come down, so just a little lower. And that's my basic shape there. I would kind of note where the body kind of comes in here, which is the lower part, which I would do like thes. I do a kind of a similar shape to this I do down here, and that is basically your pelvic area, though, around where your waist is, where your legs connect. I also make sure to put a line here because this is where your legs are gonna join and also put circles here because that's where your arms are. Basic gonna connect. Remember, this is a very simple, skeletal shape. So from these kind of circles and these two, or where your limbs connect, um, now just give me a second. That's just again. It's the same as this. Don't need to talk about here now. When I draw these kind of shapes, I like to draw him in kind of a curve, like, uh, kind of like an s pattern like that, because that's kind of what I'm imagining. My head is like the bone structure is kind of doing, and I like to over exaggerate certain things. So I do the 1st 1 which is kind of your first bone. It ends kind of actually a little physics. A little too. I actually ends roughly around there. I exaggerate a little bit. So roughly about the middle of the chest where that is. Then I always put another circle, and like I said, you can see I'm using all simple shapes. This is 1/2 of a circle. This is a cylinder that connects to it. Another half a circle cylinder it in a circle with a cylinder coming out of it, kind of for the chin. So all those shapes do work. Now, as I went this way with the first part, I'm gonna go the opposite way with the 2nd 1 and I'm keeping them very thin. This is not how thick the actual body pieces are. Remember, skeletal figure. If I was making actual skeleton, I would still draw it like this because then I would just go in and add the bone detail later. And now over here gets a little weird because it's technically facing the different directions. So I do curve it going. I curve it the same way, going out out. I just do the reverse there So you can actually do that if you want to, like, draw that little line. But you don't have to. And remember this one in 3/4 view, it's going back. So it technically is a little shorter, which I should make sure I note that a little bit find there and then you have your other hand thing. Now, weirdly now the hands usually go right down here and to get the proportions right on positioning usually think of it with the leg. So if I were to draw a leg here, which about similar lengthening Teoh what I did up here. Although it unfair, you can exaggerate things if you want. See about halfway in between that area where your thigh is. That's where I put a square, are very weird looking square, and I put a shorter one over here, and that's basically where your hands are. That's roughly with kneecap goes and now these ones legs. You see, I'm not doing like this. I'm not opposite ing them like this, because that would look weird at this angle. So what? This angle, I actually do them basically doing the exact same thing going back and they're coming around. So this would come around and then this is the one time I actually use the triangle shape. And that's kind of a feet now because this one's kind of looking at us. I do kind of a shape like that, and then this one is looking a little bit away. So I do a little bit like that and remember, there should be staggered. This is where the bottom of the foot is. So that's where the ground is for that one. So this one's up a little bit there, but that is basically my skeletal structure. That is the basic form that I'm gonna use when I rough drawing thing. When I create a figure, this is what I'm drawing right here, and you can you can do the pot's up however you want. So if you want to do it kind of a different pose, you know, you could just literally reach transposed this into any different pose so you could even draw it, like from the front you if you wanted to, - you could see you could take it, Move it around and it works. Still no matter what. And that is again basics Skeleton. Now what I have here when you get rid of that. So I put that down. Go up here. I have lovely frees up from Dragon Ball Z. Now, why do I have this year? Because what I'm gonna do is I'm gonna drop the opacity. Is I'm going to basically draw that skeletal structure. - Oh , you also has a tail but you not to worry about, but you see very easily where that sheep comes from. But And what? You can see what I was talking about. It's very easy to break shapes down into very simple things. So this is kind of your basic structure that you're gonna be working with on whatever it is you know, you do 4. Anatomy: now, one more thing I want to talk about here, and as you can see in front of me as I want to talk a very sort amount about anatomy. And you could see I have drawn this very, very hulking character, her to kind of overexaggerate these muscles just for your visual learning pleasure. I don't know all the names of all the muscles. You know, even I have to look a reference to figure out where all these things go, all you need to do it. You need to know some of the major ones that have a big effect. You're never gonna You're rarely going to draw a character like this where you can literally see and define every muscle intended. Unless you're trolling a character that has no skin, you're not gonna draw like this, especially in cartoons. You're probably not gonna draw like this. In fact, I will draw all over this just to kind of show you kind of a way of doing it. But real quick, I want on, let's, you know, off the major groups. So right here. And over here you have your shoulder muscles, which it break down into usually you break them down to the like three. But technically there are like a bunch. I think there's like six arm or big chunks, but usually break down into these three big chunks, which is the one here, one in the middle and then one in the back. So that's your shoulder muscles, which is gives you that big defined shoulder right here in the center. You have your pectoral muscles. Check your chest muscles. You could see kind of here you have a lot of different neck muscles. There's a lot of muscles in your neck, but ride behind. Here. You see this big neck into back muscle. It's a big one below it. You have a couple smaller ones, which wrap around up here, which there's a bunch of little tiny muscles in here. I don't know their names. I don't really know how to draw on that. Well, you're probably not gonna ever have to troll him. You might indicate where they are. If you wanted to coming back to the front. You have this section which kind of tops off this whole thing, which is your abdomen muscles, basically your abs, your stomach muscles, which you have here. You have your six. You can kind of count those two because they are connected. But I always kind of draw. This is its own little thing, as it's kind of the top of the rib cage again. Weird muscles down here. You have kind of a muscly area right here. Which kind of which? Then you have this one here, which comes back here, and this one and this one are all kind of connected, all the most kind of weirdly connected here in the back. You see, you got a couple of groups here which creates that nice dividing line. Let's move over the arm. You have your big bicep here, so that's kind of a main muscle. That's the one right in front. You have your try set, which wraps around is kind of to muscles. But you see, it connects here in the back but also connects here in the front area, this little black into area here, this little black area and anything that's kind of black and out is either bone or I'm guessing it's tendons or senior or something. It's just not it's not muscle. Exactly. So ligaments all those living things are so many things in the body, but yeah, so that your bell, But you can feel your elbow the bone jutting out so you can feel in the skin where, like that skeleton figure I showed you, you could kind of feel what bones are really close to the edges of your muscles and how they wrap around, come back around and you have forearm muscles, which wraparound? Just a bunch of big, chunky muscles that kind of go all the way around and kind of wrap it over here. You can see what they look like if you were, like, doing kind of straight on, um, coming back over here, you have your leg muscles. You have kind of three chunks right here that are wrapped around by a bunch of tendons and other things you need cap, which is right there and connected to your shinbone, which lovely sticks right out right where it could be hit and then behind it. You have your big old calf muscle, which is that bagel? Chunky one right there. And a couple little kind of like the forearm. Here you have a bunch of muscles, you have a bunch of ones there, too. And then you have your butt muscles, which, you know, it's actually kind of like two different muscles muscle groupings. But that's your basic form of, you know, of your muscles basically. But like I said here, I'm gonna lower the capacity on it. And I'm gonna Drollet kind of like what you would see if you were doing this. I guess if you were doing this to define a shape in realistic terms and then we go, we have our figure. If I get rid of that, this is how I would normally draw the figure. Also, I did realize I was drawing a little bit on this layer, but that's fine. So that's basically all I would do for kind of anatomy kind of stuff. Now remember, this is a big, old, hulking character, So those muscles who will not always look that huge, as you saw in my previous video are in my previous section where I talked about skeletal structure, they're not always gonna be that massive. And even now here you can detail out some of these muscles. If you really want to like I know because that's there like you can detail out some of this stuff. Like I do usually like Teoh. Kind of because I like to indicate where that is. Sometimes all come in here and just do this little shape where I'll bring that in breaking up kind of like values. I choose one side to go over, but that's about it. That's all you really need to do. Especially since they're probably gonna be wearing clothing. Hopefully so I hope you found that at least somewhat useful. That's it for this kind of section where I talk about basic stuff. Now we're gonna get into kind of drawing figure things. We're going to start off by drawing head, which is this lovely thing. And I'm gonna actually teach you why I do this stuff. We're also gonna just kind of show you very simple heads to draw very simple figures to draw all that kind of stuff. So let's go have some fun with that 5. The Head: all right, in this video, we're gonna be talking about the head now. Honestly, if I were to really go into super detail about drawing the head and it could take over an hour, probably two hours. But right now, we're just gonna talk about basic stuff and get you started. So, quite frankly, the easiest way to get started with ahead is to just draw a circle that is your basic shape . Now, I know that's not perfect circle, but remember, this is all about sketching. You don't need to be really perfect. You just get a circular shape going that is now, depending on your style, you can either use this for the whole head, like, have your head fit within this circle, which I've seen some artists do. Or in my case, I always have this start as the top part of the skull area. And then what I do is I simply divided. I'm gonna draw this in 3/4 view, so it's gonna be kind of pointing at an angle. I divide this in half again. This is a 3/4 view. So it's going over to the side, go down a little bit. I go down a little further than I would normally. So I kind of start with a curb and then I kind of straighten it a little bit. And then what I do is I come off from this side and I come down, and that's basically how I start chal the jaw line ends right about here for me, and then you can kind of pick it back up. I have to go back up into the head, connects back with the circle, which is the skull part. Now, this is your basic form for ahead. If you really look at it, it's kind of like I mean, I guess it's kind of like an egg shaped if you really think about it so you could start with kind of this eggy type sheep right from the start. But I just like having the circle there. Just give me a guideline now for proportions on the head. Very simple. You take this whole shape from here to here, divide that in half, roughly in half. That is roughly where your eyes are gonna go. So your eyes are gonna fall on this line, so I could just quickly put this here. I kind of show you years where the other I would go the I should be about and eyes with apart. Even on 3/4 view, they'll be a little less. Just because this other I down here is a little smaller. Does your going in perspective from the front you would have your eye and you would have a gap. Then you have your other. I ran in the room there, but you get the point is got that half between this line in this line, If you cut that in half, this is where your nose would go. So you were drawing A knows. It would basically go here. Now the width of the nose usually falls within kind of this group here, where you could easily draw that. Now, with this 3/4 view, everything is at a weird angle. If I was drawing us from the front, you where I would have liked, I would have a high here that would have an eye here. The nose falls within this kind of grouping Here you would have kind of your nose here, and I always paper thin, so I always like that. But if you were to follow this. These two lines coming down your cut this in this chin part in half. You have your mouth and usually with the with the mouth. I usually make it about that long about between the two eyes, about eyes with apart. Do you have your mouth rebel here now? It doesn't have exactly that. It could be a little more A little less doesn't really matter. All up to style and what you want the character to kind of look like now, right here, Right where this mark is, where the nose is in the kind of halfway part of the eye. This is where you would put your here. And obviously this is again interpretation. You can kind of fiddle with this a little bit, but just know that it falls within this kind of section here, so I'll just put it right around here. And that should like your basic shape. Now, if you're divide from here to here roughly in half about there, never be perfectly in half. I would go a little bit higher with cartooning. I would actually go a little even without harden that just because the way I draw right about there. Give or take. You have your airline. I'm just gonna draw this airline, just kind of get it out the way. It doesn't have to be like that. That's your hairline. That's where the hair starts growing out. So it starts going out here and goes all the way back if you come around here and I could have probably made this go in a little bit more. But no matter, your neck kind of comes down right here. That's not really anything like super specific. Just kind of starts from the air and comes down. And I was I draw kind of dinner next. So coming in a little bit from the chin because of the way this is angled. There you go. You can have your basic structure. I'm going there. Is this an interesting race? This just because visually getting in the way of, uh okay, so we have our basic guidelines here just kind of grow from here, go for the eyes, little bit. Here, the eyes. I draw these kind of circles kind of go with the eye socket, and then I just kind of drawl a shape based on that now There's nothing I could really teach you about eyes here because eyes again are kind of your personal preference thing. All I can say is that you have your upper eyelid, then connects kind of to the lower part of the eye. Now, whatever the eyeball is, which is the bigger circle the eyelids cover over that. So you're gonna lose parts like obviously, you can see the eyeball goes on here. Ball goes all the way down here. You're gonna cut those off unless you're starting character with, like, really big bug eyes like their surprise or something. Then you can widen that out. But generally you want to keep inside that little circle area. I would like that. I wrote take the screen while you know what I'm drawing, just like I would in real life. So that's why you're seeing all that kind of weird movements and stuff. So don't worry about that. Here's kind of the side of the eye. That area, remember, I'm drawing a very stylized look here, so you gotta take a little bit of liberty with it. You have your other one over here. I can already see that they're probably not mine. But whatever a good rule of thumb is, if you rotate the picture like that would put the picture you can hold. If you're drawing on paper, just put it up to a light backwards and you'll see you can easily glare out the problems like I can see that this one's a little smaller, but it is going back into space. So does line up there, and and it does kind of lend up there. So I am pretty good there. Actually, I want that actually come down more. Now begins the inner part of the eye, which you have your iris and then your pupil, your irises, the coloring kind of the bigger coloring part. That's the bigger circle. And then your pupil is the black area in the middle, depending on how you draw you, Draw it very differently. Control it as kind of a circle if you want. Like I know and again, this is all personal things. Look out your favorite artist draws them and then kind of based it around that around what you think the I should look like. Normally you would have part of the eye touching the top just because That's how are realize. Work that looks OK from my buttons are a little messed up right now, so fighting them a little bit. So you kind of have your eye shape there and we do this one. This one's gonna be a little bit more kind of sunken in a little bit. Something This one's at an angle. Someone over with a little bit just for artistic design choice here. Then right in the center, you would have your people in the black area and then also remember, with eyes because they are kind of shiny, they will reflect, reflect light. So you're gonna have a highlight somewhere Now, personally, I just put one big highlight here, right there going to show that there is a highlight if you want. You can also put a couple down here that there you have your basic I shape right here. You would have, like, a little bit of ah, fold right where the eyeballs kind of pushing so you can have a little tuck in fold there. Then you have your eyebrows, which just kind of follow the shape. You kind of look at your own eyes kind of see how your eyebrows work because 3/4 view that it's going to kind of stick over. This one's gonna stick over this way a little bit. So that's why it's gonna sticking out a little bit there, uh, again, I rotate the paid, so I would suggest doing this in real life as well. Like if you're even if you're using paper, you want to rotate the page to give yourself the best angle for your arm, all about getting the best curve you can with your arm knows wise. I'm very simplistic with my nose. Is that our noses? Normally high withdrawal noses. I would kind of continue to stand down. Come out here. I do very simple knows most times tucked in there, and usually that's about all I really do for a nose. Just because I'm more simplest, I like draw things very simple. He really wanted to. If I wanted that stroll line here talking up to kind of indicate where that whole area is, you don't have to. Now I'm doing this a little more detail than I normally would for like, super simple, cartoony stuff. But that's just kind of where my default is, right now that's just our defaulting at the moment for the year. Usually you have kind of, ah, ears are a whole another monster all themselves. This is how I draw near Look, a really years. Look at your favorite artists and you kind of pick what you want. I just kind of draw a couple of folds, and that's about all I do for a year. And that's pretty much at the mouth. It's pretty much OK there now for this outer portion. You will remember that the eyes kind of tucked in. So you are gonna have a bit of ah, bump here. If you want to draw this bump, you can draw that bump and then you have your cheeks, which then come in that you're gonna have a little bump in there. If you don't want to draw that, you don't have to. Honestly, with cartooning, you could just draw a straight line straight curve with that, or you can draw kind of like down. Just draw a straight line here and then cut it in. It's all up to you. Really. How you want to do it now with hair, hair is kind of a tricky subject because hair kind of forms Bunches of hairs like so don't try to draw every individual hair draw groupings of hair. So for this guy, I think I'm gonna keep him. Probably simple. I'm gonna give him some spiky hair. Now, we got some crazy, crazy animal hair. Then what I would do is I'll just quickly eq this. I'm just gonna I'm gonna speed through this. So all right, that took a little bit longer than it should have, but apparently I'm a little bit rusty, but you can see there how the final image kind of came out from what we started with, which was just kind of a nice sketch, because he very simply, it really isn't that difficult to get things memorized. Everything comes down to style, and pretty much that's the biggest kind of deciding factor on a lot of things is what is your style? What? How do you draw things? Um, me, even things like what I'm doing here with just adding a little bit of mine detail instead of drawing every airline, Um, I'm usually just kind of doing basic shapes like these just to kind of indicate where things might be, but you don't even have to do any of this kind of stuff. You can leave it all blank if you really wanted to. It's really up to you and kind of your style. How you draw so again I know who's This was simple, very simple, very basic. But this is just to get in your head kind of the ideas of what you need to be looking at. Why, when you're thinking of drawing not so much me telling you, you have to draw it this way. More of here's guidelines. Here's things to think about now figure out the look yourself because, like I said with basic cartooning, even with the stuff I did here, wrong button, you can take it even simpler and do anything from no basic. Take that same character but drawing a little bit differently. You could have, you know, very basic a triangular shape for his head instead of the more bigger shape that I gave him . You really want to take it super simple. You can really break things down. That same character could easily be redrawn if you were really, really break down. In fact, let's, uh, this is basically how you oversimplify character if you really wanted to, you could easily go super simple and draw the same character. But just by changing a few things, you can easily change the character from what it waas to something completely different. And there you have a very different character, you know, its is still the same character. All the features air there. But by simplifying it even further, you have this. Obviously, everything's I was just drawn that freehand so it's not perfect, but you can see what I'm talking about. You can change the style of however you like, and it really doesn't matter. All that matters is as long as your basics are still the same, I still cut in half for the eyes. I still cut that in half to where the nose was cut in half from where the mouth is. I still kind of cut that in half where the hairline came to an end. You know, all the basics are still there, even look even the high line even where the year goes, right where it needs to be. So these are the things you just need to think about is how do you want to start your structure. And even there you saw I didn't start with the circle that time because I kind of knew what I wanted to start with. But I could easily have done that same thing, started with a circle and then done that just like I did before. You can still do that. It doesn't really have to be one of those things where it's like, Oh, I have to do it this way. You could even get rid of that little chin thing. If you want to. One Teoh get rid of the way that chin looks. You can easily do that and still have cool looking character. I've drawn this way before as well. Everything is flexible. Nothing is really set in stone when it comes the artwork, except for like, the proportions, things like that. But even then you can kind of skim a little bit. If you really want to have fun, that is the important part. Have some fun with it, really get creative and create really random characters. Great random shapes, you know, take a shape like this and make a character out of it, you know, take a odd shaped like this and make a character out of it. I mean, I could even see just from looking at that, you know, I have, ah, character where I could just go like this. And all of a sudden, I have a skull character just by doing very basic shapes. And obviously, you're like, what? The freak is all that stuff, but, you know, anywhere it doesn't really matter. You can create shapes. You can create all kinds of weird stuff. It doesn't really matter in the long run. It's just about being creative and working with what you got me. I could make a skeleton character out of that, have some fun creates and shapes. Really learn what it is you're doing here. And don't stress so much over the details at first. Just kind of get yourself going yourself drawing. So thank you for joining me here in the next one. We're gonna be talking about drawing the body 6. The Body: All right. Next we're gonna talk about the body. Now, the body is kind of a weird as well. A simple thing, depending on how you draw it. Bidding on your style. All we need to learn about is just breaking things down. Now, I already talked to you about the skeletal shape before, and basically, this is just taking that and basically flushing it out all the way through to finish. So we're gonna do is we're gonna start with our basic skeletal structure that we started with before. So we're gonna have that structure draw a very simple character. I'm gonna try and do this front. You emphasis on the word try. I've never really been that great at throwing perfectly symmetrical things. That's why computers are so helpful. Because I can just budget anyway. So to get the basic proportions of a character from front you, it's simply a matter of counting things in certain proportional shape. All right, so the first thing is about proportion. Now we use heads to count characters, height. So all your character should be a certain amount of that character's heads in height to get their proportional height. Now that doesn't mean how tall they are in inches. That is a whole nother thing. This is all about proportional height. So the usual thing is, whatever your characters like, height of his head is in this case from here here usually want to count down about six. That's the number. I roughly use six heads, and that is his proportional height in relation to the rest of his body. So you have that to get one, have what to there, free for by the six. So and you can usually go about 1/2 for where the feet go. That's roughly where the bottom of the beach go. Now what does this all do for you? Well, now you roughly know where things on the body stop and start. So it's really basic, really simple. And let me break down each piece individually. Right? So basically, from the 1st 1 to the 2nd 1 this line is kind of roughly where chest areas should be. Um, obviously, because the latest characters drawn I would draw kind of like for the Knicks would only go about that much began, which really is not worth like sitting there fighting over how big that is, but you really want to go about their. So I was just kind of draw this down here from here to here. You have your basic figure just roughing this out for myself. This is roughly where kind of e waste is gonna be is pretty much where this line is now. Obviously, I'm having drawn this perfectly, so it's a little weird. This is about where the bottom of your chest comes roughly around that area. This is basically the bottom where your collarbone and all our So for all that shape, basic body. Then you have your waistline, which I kind of draw stubbly. Remember, these aren't real proportions toe really human beings. That would be really weird. Why? This is why it's great to have a program that has the ability to symmetrically draw something for you. But I'm not gonna turn that on for now. So that's roughly head goes shoulders kind of pick up that staff there, arms, usually your shoulders start about there. Like I said in my drawing waste here, this guys and perfectly cut in half. But that's fine. Arm, like I said before, goes to the bottom of the rib cage. Then you have. This comes down power. The waste is take. That's kind of where your waist kind of areas and then usually it can come down even further. You really want to push proportions a little bit? Then you have kind of your and area comes down about here, where the bottom of that line is about Between is about halfway between this mark, which is what? One not having four. So that's where you can go on all here. Got leg. I'm only gonna draw one side of the body because this is getting weird. Bring that down to about there. Halfway. Take. He goes that there, then we have the foot. You see, it's not perfect. And that's also because I can't draw perfectly. He needs just kind of very, very rough. Very, very rough. Nothing like super perfect, even. Kind of figure things out as you go. All right, So what I'm gonna do here, I'm just gonna I copied it over. So now I'm just gonna plus things out a little bit, just for my own mental stability right now. All right. So just to kind of make things a leisure to kind of see a more finished product here is basically the entire figure. I even added some of the kind of details. Now you can actually see what I was talking about When I see kind of the full product sell . If I bring that back up, you can see everything that's underneath. You could see, you know, here's where it's head is about. There you can kind of see where all the different little proportional spots kind of fall into place. You know where the chest is about here, where the waste is roughly where that kind of stops See here, where another area comes There, there, you there, you see halfway between there. And there's where the need pumps here for the ankle is and then a halfway point for the foot is over, so you can kind of see based on this image you can see that also, I did put in all the little marks on the face just to reiterate No, all the pieces. But I know this was super simple, but all I wanted to get here is kind of the proportion Eri things you need to look about. Look at, think about now. Remember this everything changes the moment you add forces into, Um, now remember that now remember this. Everything changes the moment you add perspective. Perspective is the effect of if something here is a little closer in the forefront. So let's say there's like a let's say, there's a hand here. You have a basic hand here. Basic shape here. Yeah, I'm here. You gotta hand that's kind of out here in the front. But let's say the body is way the heck back here, so it's kind of doing its own thing. Your life? Well, yeah, it's in perspective. This hand no longer lines up with the size of this hand because now you have different structures. So you can have different starts over here where this hand is over here and lots smaller than this. And because this one's all the way out front and it's going from here and then all of a sudden it's going back into perspective, so you'll have a different look at things the moment you kind of go into that kind of view . So always remember that perspective changes everything. The moment you put something into perspective, everything changes. Everything looks a little bit different. Everything kind of acts a little bit different. Um, so really, perspective is one of those things that just mucks up everything, but it also gives you dynamic looking thing. So we want things look very dynamic. Very cool. Kind of, you know, not boring. You know, you wanna have perspective, just it's just something you have you're gonna have to learn about and think about. So really, just look at some of your favorite artists. Look at some of the things they've drawn. Also look in a mirror. Put your hand out in the mirror and look at it that way. It's like, Oh, all of a sudden as faras the image is concerned. My hand looks closer if I put it up against the mirror than where my head is. So a lot of that is a bunch of checks and balances. I'm sure there are some rules or guidelines that you can follow. I've never really looked any up. I've just kind of guest things of where things look and honestly, you're the human. I will tell you when something looks wrong. Trust me. If you look at it and go looks kind of wonky like you know, you'll know almost immediately, and especially if you train your eye to see things artistically, you'll really start to tell when something went wonky, like I could tell that hands probably a little too big, even by this standard of what I'm doing here. But this was just kind of illustrate something, anyway. So, always taking the consideration. You know the whole picture, What's going on, where things doing, what you know. There's so many different things that you need to think about when you're drawing. But that's just kind of a basic thing to get you going with the basics of understand proportions is that you can always measure things based on other parts of the body. You can even use your hand. I've seen some people use the length of a hand kind of dictate other shapes and, like distance from here to here. Here, here, here, here, that kind of thing. So find what works best for your mind, and you don't always have to draw it. But just think about it. That's all you have to do is think about what you're doing, and that's all I'm trying to get into your head is get you to think about things. So go out, create some characters and draw them just trolling. Basically like this in basic straight fashion. Maybe 3/4 view, which is the, you know, angle book and just really mess around with proportions. Mess around with what he's realistic, what you can push and what you can't push. Um, especially when it comes to human characters, really pushed the boundaries of what you think you could do and look at your favorite cartoonists and your favorite animators and see what they're doing and say, Ooh, I like the way they push you know, the body instead of it being proportional. Maybe they shrink it. Or maybe they lengthen. Or maybe it's different for character to character on what you want. Their personality look like you. You want a tall, lanky character or you want a short back character or short linke character with skies of the limits. Have fun and really kind of pick apart what you want to do anyway. In the next little segment, I'm gonna area really, really roughly go over some basic things on extra things like backgrounds, maybe some vehicles and stuff like that. I'm not the best that drawing these things. So I'm just going to use a basic ideas. I'm gonna try to give you an idea of perspective, but I'm not the best at it. So I'm just gonna give you some concept ideas, but anyway, I will see you over there, So let's move on to that section. 7. Backgrounds and Perspective Basics: all right, and here we are on backgrounds now What I've done here is I have this little figure here just to kind of give us an idea of perspective and all. So I have this superhero type character flying forward. He's in kind of perspective, so his proportions are a little weird, Like he's going back into space here. He's going back clearly, going no, to figure this kind of stuff out. Um, we're basically going to think of the points of perspective now that in itself is a whole can of worms. You have one point perspective. Two point perspective. Three point perspective. Vic Freaking goes on forever. Almost, um, most something to talk about here is one and two points is basically just because it's a little easier for right now. Basically, the points are just your vanishing point. So vanishing point is, if you have, let's say your horizon line, which is the horizon line, is if you look straight out, the horizon line is where kind of let's say you were looking. Let's say there was nothing in your way. It was a flat field for freakin miles. If you look straight out, you would like, let's say this is all just like fields and stuff, you know, basically, this is where the the edge of the earth would be if you were looking straight out to infinity. This would be where you know the edge of the earth would be where it starts to tip over. So now that's not saying that that's always gonna be the case with Horizon lines. That's just when we're looking at is it's roughly where your eyes are looking, a vanishing point in this case be about here. This is basically where everything in space is going towards, so everything is going to this point, and it's kind of a center point here, so every line that you draw all your guidelines. So if you were to draw lines off from this point, are coming from this point, and so everything that's being drawn is drawn as if it was going towards this direction. So that's your basic idea of a vanishing point. That's where everything is moving back towards now. You can have multiple points of perspective, so if you have your line here, you can have a point here in a point here. Well, that means things are going in these two directions is just spending on which way you're really looking. And this is so that you can draw more complex figure. So let's say you had this going on like that. So you have. I cannot draw right now. Um, let's draw like that like that. But then you also this one which is going to giving exact same thing. You could see that where they cross you kind of create a little bit of a grid pattern. Give kind of that great effect. So everything. So anything you would draw in here, let's say, if I were to draw building, I could draw a building and have it being in this perspective, it would be going like this. Obviously, this is kind of flat point here. So now you can see right away that this looks like a building and it looks like it's going back in perspective because of that. So I assuming here. So if I were to draw, you know, windows and stuff, you can literally draw windows just exactly like this. So even the windows followed perspective line. Everything pretty much follows the perspective line. Um, and also remember As things go back in space, things get a little smaller looking. So obviously the gap gets a little smaller. But that's kind of what you're you're looking at when you're thinking of perspective. Is everything going back towards a specific point or, in this case, two points? If you added 1/3 point like way up here, well, now you get into more complicated stuff where you could have not only things doing this, you know, having the follow these lines stuff. But now you have things having to follow these lines. So instead of these being straight up and down, I would have these lines come in like this, and then they would be coming out like that. But then you can show what's known as a worm's eye view, which is everything seen from the bottom. Like if you were a war little Taney, we're here just kind of slithering on the ground. And when you were looking up, you would see this. This is a worm's eye view. That's where you have three point perspective. A bird's eye view is completely the opposite. Your from the top you're looking down so technically what we're working with here with this guy. That's all unnecessary government. So with this guy, you can clearly tell that he's flying kind of at us that things are all going to go into perspective towards this kind of back area. So 12 I'm gonna use here just to kind of make things even believe. I have perspective rulers on. We're gonna use those that kind of help us out here. So what I've done here is I've created a tool here. The program Amusing clip studio has a perspective layer thing, and I created it in three point perspective. Now, all we have to do is drag a little points. I believe this one should be about. And that looks it looks about right. Yeah, that's about right. Take it. Might even be a little drastic, shallow accent. Now it's a little shallower. Okay, so there's our There's point down the bottom. That's one. Then we also have this guy, which is another line all of its own. You could probably move that down there. I want to, but in this case, where would the perspective give me a second? I figure this out. All right. I've roughly decided on this So the vanishing point is way down here. So this is the ground, basically. So we're looking from the top down A bird's eye view thes two points are is the horizon line, which is way above the panel. So this is kind of the eye view, and that's because all the buildings are going to be right here. So that's what we're gonna focus on some buildings you can see right away. I have some lines to work with. So I'm gonna do here, is you can create a kind of a grid, which is what I'm gonna do. I'm gonna create a grid here, So there's gonna lines going this way. Lines go this way, lines. So this is going to get a little weird looking at first. But just bear with me here. It'll all make sense once everything's done. All right, So just to show you how crazy this could really get, this is what it looks like at the moment. So, yeah, as you can see, it gets a little wonky because, well, there's all a lot of lines on the screen. But as you could see, the red ones is our third point down here. Our blue point goes up here and are green points. Go over here and this is just a guideline. It's not gonna be this bright. I am gonna turn all of these down, So do not worry. This eyestrain will mostly be kind of gone in a minute, cause I can usually turn off any of those layers you can kind of see which ones are which. So now I'm gonna lower the opacity just to make things easier for us. All right, So as you can see here, this is gonna be a lot easier to work with because everything is turning down to 34%. But I am gonna keep this on because this will allow me to easily going here, select any of these, and I could move them for my own personal so I can put them right exactly where I need them for this is just to give us some ideas of where we're going. Now, make sure Turn that off. This'll out. This basically locks it so that I snapped to these great time made the screen. So let's think how we want to draw this. So we know that this is our vanishing point. So and I also think I'm going to make a panel here, and whatever you about panel is, I'm just gonna make kind of a border frame for us to working in. So we're not having this giant area that you mess with worry about. So let's just quickly cut this into an actual frame here that will frame the images. If this was a panel of a comic book, all I have to worry about is what's in view of this panel. That's very helpful. Now, I did do that on the layer that I was just about the drawings needed another layer. Oh, the joys of digital comics get thousands of layers, and then you lose track of where the crap you were. But anyway, it's a very basic thing. Here is we're just gonna kind of sketch out a background. So when I know I want is I want a bunch of buildings here, and obviously I have to follow a lot of these points. So I know that a lot of time I'm gonna have to draw very weird shapes. I know this goes back here, someone I like that line I could follow. Like I said, I could easily take any of these pre existing line things here, this one flying that up for me, just for my own mental state. Make things easier for me to have a building kind of come around here. I am gonna follow these lines a little bit just because it does make things a little meter . And I'm drawing behind the figure because, you know, you should do that. Draw behind everything that's gonna make life. Oh, much simply in the long run. We got one building kind of going here, and you can also do this if you want. You could do this in three dimensional shapes like you could easily go grab a three D model and just draw like that. I've done that before. And in fact, I do do that on my own personal comic books just because man, does that make life? Oh, much simpler. You don't have to worry about a bunch of crap getting away. So I would suggest doing that if you want to save yourself some time and some headache in the future. But if you're not one of those kind of guys, you don't even really care if it's perfect, then don't worry. It doesn't really matter. So what I'm gonna do is I'm just gonna drop this little thing here. So this is basically our one of our buildings. Now, if I wanted to, I could also cut it off. Lake. This is like a really tall, tall building, But I don't have to have it there. I could have it so that right about here is where it's gonna cut off. Basically, what that allows me to do is also have a road so I can have a road going in here. Basically, the road is going to be. In fact, I should put it following one of these lines, so I will put it there. So let's put it because you always want to have a little bit of a gap for a walkway. That's a road. And as you can see, this figure here follows that line pretty much. This follows this line just, you know, very simple. Yeah, you can see very quickly that you can easily, you know, mark out something and then get things drawing very easily, very quickly, Nothing too complicated, or you could make it super complicated. You could have thousands of things here, but we're gonna focus on this one building for right now. Just for the sake of time, I guess, really is. The big factor here is just trying not to make this video excessively long for the sake of you guys. All right, so you can see here. I finished thinking this image, so that's what we got right here on this layer. So it's a very simple building, very simple structure. I put him on another layer so I can cover him up so you can see very easily that if you were to take this and if you were to copy a bunch of these going in a row, you can have it easy. You can have, like, a city scape going on, um, and then to kind of finish those, you would draw like a bunch of, like, windows and stuff so you could easily get in here and draw like windows and stuff, which would really be actually a very simple thing to do. You can usually just go like that Are awesome. Basic shapes here. If you read any comments, you'll notice that a lot of times you can keep things very simple by doing basically this just very basic window shapes. One thing I should say here before I get to Period. You want to make sure that as you're going down, the gap between things gets a little smaller Because remember, as things get further away, things seem smaller. So even the gap between things would start to get a little smaller. So here they're gonna be mostly the same, trying to keep the most of the same. It's not easy. That's the wrong way. And then as you go around here, things are gonna get a little smaller. That's more. Which is kindly stop, Thank you. It's adjusting my angle of attack. Here we go. Not the easiest thing in the world to do. Getting all this stuff toe want to line up Well, you kind of get what I'm going at here by just adding of some basic details, and you can even have it. So as you get down near the bottom, you kind of trail things off. That's what I would do, at least do you see that looks like a basic building. And if I wanted to, I would color these like mostly blue as you get down here, it doesn't really matter. I mean, this is a very oversimplification of things, but these are just things you need to think about when you're thinking about things like perspective on trying to drop buildings and all. It's really an art from all of its own. And I would definitely suggest looking at real life photos of buildings and just kind of not trying to do a 1 to 1 Red Creek recreation. But look the building and go all right. What? What is the main features of these buildings that I need to get down? I don't need to draw every single brick, although I could if I wanted to, or control the bricks bigger so that it's not quite as crazy looking. Three architects chur We need to draw every line. Or can I simplify things that's always thinking the mind like How can I break things down? Simplify. So I know this one wasn't most informative and probably not the most helpful, because this is an area that I'm not quite as you know, perfected on like I'm better with characters and stuff, but I did want but I did want to share you the basic principles of stuff like that. Now I am horrible, a drawing vehicles. I not even gonna try and show you how to draw vehicles because I am arable, it drawing vehicles. But vehicles could be seen as very similar as people and buildings combined. Because there's organic shapes, they're square shapes. Look at cars and draw them mostly to what they are. And you get the shapes down, get where things are. But I am not the person go through for buildings and stuff because that's just not my forte . That's not what I'm good at. But anyway, I just wanted to kind of go over this for you because this is the final thing I really want to talk about is this kind of thing. These perspective is very important and you need to understand perspective. But anyway, thank you so much for watching this serious. I hope you enjoy the Siri's. I hope you got something out of it. If you enjoy the Siri's down below, I want you guys to kind of draw your own cartoons. So in the projects section of this class, I want you to draw your own cartoons. Johnson Character designs, building designs, cool little panels like this drawing comics if you want to. But anyway, just post your progress of you learning of you, following along of you going through and basically becoming a cartoonist yourself, enjoying this world that really is a no. You can't really go wrong here. It's whatever you interpret the world look like, how you see the world. And, you know, don't be afraid to try an experiment with different drawing styles and different things that you see other artists doing that you think, Oh, I could probably implement that. Have fun with it, and please share with us and the rest of the class because I would love to see it. I love seeing anything that anyone does. So please share it along and go out there and start creating and have some fun. Later