Character Design: Designing a Character for a Purpose (Film or Client) with Tom Bancroft | Tom Bancroft | Skillshare

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Character Design: Designing a Character for a Purpose (Film or Client) with Tom Bancroft

teacher avatar Tom Bancroft, Author/ Character Designer/ Animator/ Director

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

4 Lessons (56m)
    • 1. Introduction

    • 2. Lesson 1

    • 3. Assignment

    • 4. Lesson 2

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About This Class

In this course on designing characters for a client or customer, Tom Bancroft describes the key concepts involved in creating compelling characters and walks you through the process. Tom describes the steps as he completes the steps himself.

Lesson 1
• Tom describes the keys to creating interesting character designs.
• He goes on to discuss working for a client to create character designs.
• Tom describes how to find all the reference and inspiration you need to make a successful character design.
• He then walks through the process of discovering and experimenting with various shapes and designs.

Lesson Part 2
• Tom Bancroft then walks the artist through his thought process in creating various versions of the Koala character for this painting company.
• Finally, Tom makes suggestions for the artist on how to continue forward with the project to take it to final.

Meet Your Teacher

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Tom Bancroft

Author/ Character Designer/ Animator/ Director


Tom Bancroft has almost 25 years of experience in the animation industry, most of which was for Walt Disney Feature Animation where he was an animator for 11 years. He has been nominated for Annie and Rueben awards, spoken at the Kennedy Center and awarded an entry into the Chicago Children's Film Festival.

While at Disney, Bancroft had the opportunity to contribute his talents to 10 animated feature films, five animated shorts, and numerous special projects and commercials. Among the classic films on which he worked are, "Beauty and the Beast," "The Lion King," "Aladdin," "Mulan" and "Brother Bear." He was also a character designer and director for Big Idea Productions, makers of the family-friendly "Veggietales" video series.

In 2005, Bancroft had his popular art instruc... See full profile

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1. Introduction: Hi, I'm Tom Bancroft, and this is my second class on character design. And it's what I call it character designed for a purpose and why I want to make this one specifically about designing a character for a client, because some of the things we talk about are a little bit on the business side of Of why we do. What we do is a character design and how we kind of treated client how we do something just specifically for a purpose. And really, that's what it is. It's purpose driven character design. This is breaking away from just drawing in your sketchbook in designing all kinds of wacky cool characters. But actually, this is what the real world is like. You know, when you get an assignment like, say, when I was at Disney and they say, Okay, we need a dragon character And here's what he's described as in the script. And here's a few other you know, character designs that some storyboard guys and you're working off all the information that they're giving you, and now you kind of have toe Cole that all together to create a really cool character that fits their specific needs for that script film or whenever it's for. So, um, I want to talk about a little bit of that bat and really haven't sort of guide your direction toward doing this for a purpose. Designing a character for a purpose so a little bit about myself. My background is that I was a Disney animator for about 11 years and worked on lots of different films from Beauty and the Beast, Aladdin, Lion King, Pocahontas, uh, A little bit of Tarzan and and all the way to Milan. And Brother Bear in Milano was the supervising animator. Mu Xun got to design his final design on Bond. Create a lot of the animation for him on work with the team of animators that worked on a move she also on then, uh, the next half of my career has been a lot of doing Children's books, illustrating Children's books and doing characters. I'm for TV and film for other studios and video game maps and things like that, along with right writing character design books. So I've written to creating characters with personality and character mentor, So I hope you can find those two books to their actually a really popular a lot of art schools 2. Lesson 1: Oh, my first lesson that I want to touch on that. Hopefully you've already watched really talked about the three key things elements that you used to create characters. It's a methodology that I've kind of come up with, where really spot like those three things. And and that the three concepts are shape, size and variation. Um, we talked about with shapes, you know, is trying to be ableto uh, not only picture things from real life. Like, say, when you're doing life drawing of an actual human, you're trying to break them into shape. Sometimes to be able to get the best feeling of four shortening and things like that, you're always trying to look at them as shapes, and you create a flow between those shapes. Likewise, when you're designing a character, the best way to do it is to really kind of figure out what shapes make up that character on . That's from analyzing and character, say, like young Simba that animated in linking that somebody else animated or designed. And now I had to then try and figure out how I was going to draw Simba and make sure my symbol looked like his Simba so knowing how to break that character down into shapes was pivotal during times like that, And that happens a lot in your career. But also just starting with a blank piece of paper. Be able to figure out OK, is the character I'm designing. Have a small square shaped head or more around, or is it a complex shape? What has, um, we talked about complex shapes where it's multiple shapes, but together it starts with a circle, but then has a triangular job be able to figure those out? It's gonna help you not only create new characters and then play with the size of those shapes to get more variants and really be able to take your new characters to another level . You can push the characters by in their designed by playing with the size and variation of shapes. Maybe the legs are longer. Maybe the ankles air really thin, but the Cavs were really wide. I mean, you're gonna play what that's complained with the variance of the sizes and shapes. So all those concepts we've already talked about in the first lesson, so I'm not going, I will touch on that as we go but I really don't want to get into it too much because like I said, that's in the In the introduction to characters today. What we're gonna talk about is actually creating a character for a purpose. So say you're in a meeting with a client and this if it hasn't happened already, hopefully it will soon where you get to sit down with a client, they say maybe it's a small company and they just want a mascot for their website or catalogues or something like that, and those air kind of introductory characters on jobs that you might get when you're first starting out. Um, or maybe it's a TV show or a film, and it's a director you're talking with. And now they're sitting you down and say, OK, this is what we're looking for in this this role in this film or TV show. Um, what? Whatever it is, they're gonna have either a ton of information for you or very little, but they're all gonna have a goal and whatever that goal is your job to figure out what that IHS if they're not being very clear. Because, like I said, with the scenario where It's a company mascot most of time. Those people are not artists, so they don't necessarily know how to communicate to you what they really want in their heart, because they know they can't picture it themselves. They just know they want it like something they've seen before, maybe in the past. So you want to really ask as many questions as you can? That's your job right then. And there is to try and figure out from that client what exactly they want, even if they can't get it out. So you're going to say, maybe your mentioned styles Is there some styles that you're looking for and and again, we're not gonna get into styles too much and are in this class. But, um, you do want to figure that out there. Do you like this style is that Nickelodeon is a Cartoon network. Is it more of a Disney character? Is it things that they can kind of, sort of, You know, if you've seen this TV show, is that that style? You know, things that they can kind of help, sort of focus in on kind of what they're looking for. Once you start getting an idea. Um, likewise, is it an animal character? Is it a human character? I mean, some of those air really basic is that a boy is a girl. Hopefully they have all that information already. But some of that may even be kind of left out out there where they're saying, Well, we're a painting company. And so we want a character toe to be our mascot for this painting brochure, and we do house painting. Well, then it could be an animal character like Anathema prom or Frick character could be a human . It could be a male or female. You know, those would be questions you want to sort of lead them down because really, you don't want to sit down to draw and have too many. You don't want to be wide open because you know you're either paint being paid hourly or salary, but in the end, you're gonna be the one that gets hurt. If you don't have all your your answers answered before you sit down to draw so you wouldn't wanna have some perimeters on where you're going. Otherwise, it's just too wide open and and you'll design 100 different characters on Basically you're the one losing money at that point because they may not like any of them. So it's super important to do that. I have a motto I always do when I meet with clients and have kind of lived by this motto. It's don't give them what they asked for, give them what they want and what what I mean by that is they any client, no matter how artistic they are, they want to be surprised. They are asking for something. But they really want this. You know, whether they know it or not, that's what they're. So I always look at it like, OK, they're asking for this. How do I give them that? But give him a little bit of a surprise. I maybe go a little further with it. Or maybe I I give it a little spin. Like I said, they wanted a painter character. But now I'm gonna make it an animal, you know, and open their eyes to maybe a whole another perspective. So I mean, it's a little dangerous. You definitely want to still give them what they asked for. I'm not saying don't do that, but maybe one of the variations that you like. Where you take it a notch further is something that you present. Were you giving them a little extra surprise? Or maybe even within what they asked for theirs, something you can add to it, even if it's just a proper something like that where you know now he's got a cane. And with that being interesting idea, whatever it is that gives it that extra spark that might get them even more excited and go What? We came to the right person for this. This guy's a pro or this girl. So that's Step One is really figuring out what you're going to design and have a clear idea . So Step two is research. Um, research is your friend. It's It's the most important thing you do in almost anything you designed. And to do that, you know, nowadays we have the Internet. So say Say it's a lying character that I need to design, So I'm gonna go. I'm just gonna do in this case, just did a search called with lion And what Kelly? A lot of photos of lions and lion cubs and very general things. Dead lions, unfortunately, but what and would also get, or some that are like paintings of lions. And generally I want to ignore those. I don't want to see other artists interpretations at this phase I really want to see, especially if it's a thing or character based on life. Oh, are a really, you know, be there human or an animal. I want to try and go from life first, and that's kind of my goal here when I do. My research is not to look at other artists interpretations. I don't wanna look at lying king. Here's Lanqing has kind of popped up in the search. I'm gonna go to the source and so I think it's always a great place to start. And so I really suggest that. Okay, so say this client has said they want a lying character. So I'm just gonna go down that road a little bit and use of my reference here and talk about how I'd start this process and my first step would be after I've done my research of just finding as many views and angles of Ah, lion is to then start really analyzing it and looking at the shapes that I see and start pulling out. So my first really go here is gonna be where I start, just drawing, and it's probably gonna be more realistic, but I'll start trying to figure out what what makes up a lion. What are the shapes that I see? So if I'm looking at, say, this angle here, I'm gonna say, OK, I see a little bit of a diamond shape and then I'm gonna put the crosshairs, and that sort of this is his circle is just his head that I'm doing a 3/4. Um, well, he's got little eyes here. Um, he's got this sort of triangular nos. And he's got sort of ah, squarish muzzle shape down here. Um, I see his bridges got sort of a triangle here. His eyes are kind of straight at the top and round at the bottom. Um, and he doesn't really have eyebrows. I know Disney the Wood had eyebrows, but we'll just keep with sort of a semi realistic lying at this. And then there's these little, you know, cup two years. I'm just look at the sizes and shapes and the general proportions. Um, and of course, this sort of you know the bridge of his nose was back here and then got kind of, ah, like that, you know, c shape for his mouth. And it's right, It's kind of low, as I'm kind of making discoveries as I draw this like, this really goes low down here, Um, and then the main And I look at other ones, too, you know, He's got really bushy manes. Look how high they can go. So I'm really kind of thinking, Wow, I can play with that to some, trying to get as many ideas as I can right now, but also looking at the general shape, The general shape of it, um tends to be, you know, kind of kind of the same kind of circular kind of a shape here. And then it keeps go. And I mean, it really goes down to, you know, all the way down to his legs in the front is really bushy. So that's kind of neat. And maybe I'll play with that. You know, if I do add eyebrows, they go up here probably. I mean, I kind of am sad, and then I could always go in and and the details the nostrils. And you know the fact that SMEs will curved on the top? Um, you know, I had highlights to his eyes, Whatever. But I'm just starting to sort of figure out there's some cheekbones in here. Um, how the hair hits here again. I'm not trying to do a pretty drawing. This is This is my step one where I'm just trying to figure out shapes and stuff. You know what? You can't see much of his body on this, uh, from this angle, but it's kind of like highs. His hind legs make this shape, but I'm looking at you know what direction the hair goes. Everything, um how would I break that up? And you can definitely make it into different shapes. And each one could be a separate shape and then kind of a little bit of detail. And pretty soon you have a almost a you know, a nice cartoon version of, uh, so this is kind of a bland, uh, definitely a bland one. But you could see how I got there is just doing these really basic shapes. Now, maybe next step is what I'll do is start really playing with that now. that I have a better understanding of it. I love it. Side view there, too. Um, maybe now I'm gonna start really pushing. Okay, Well, I remember I started with that circle and Dick have a diamond shape on deny through this nose off here. And it was a try and go, but it tapered to the middle here, and maybe I'll push the eyes together and make them real small. Um, and then I remembered that box shaped for is his jowl. Um, let me I'll make him smile. And this was gonna be a little car change. So, big nose. Now, I'm really trying to think about my size and variants that we talked about, and I want to give him like it over by the the jaw. Here. Let's go. Tiny little years, and maybe they're a little closer together. I'm definitely gonna give him eyebrows, and I'm gonna make him an adult male, you know? So, given bushy, does this make him look a little older and a little more authoritative? There's this. People's at the nostrils here now, But you know what else is going to give him again? Look, I'm doing this free quick but I'm gonna give him, you know, a big kind of a graphic shape to hiss his main. Remember that main, uh, also given a cheekbone. Um, the main kind of comes out of his face a little bit, so and it goes down here to his chest, so I might give it kind of a V shape at the bottom and breaking up the top here, But it does have a sort of a diamond shape that I'm giving it now. Um, look, all sudden now I have a character in it. And again, it was based on this really ugly analyzation of shapes and things that I saw in a really lion. And obviously, this is there's nothing even remotely close to these two. But I was kind of using the and video out at some realism there black that he has in this corner of his eyes here, um, and I could do another. I probably wouldn't do another version where I start doing. Um, again, this is part of the just exploring. I like the small eyes because that kind of keeps with the way line really is. But I like that round hump on the top of his nose and getting that from from this reference . So I want to keep that here. Um, I start finding the things that I start liking to. It's like, you know, like that curve years is nice. We're trying to keep that in my next version. But now I'm gonna do, I don't know, maybe maybe a smaller mouth. So along with this smaller chin, and I'm kind of getting that from here, I like this small chin here. That this part is kind of big. So maybe I'll make that, um you know, the bigger piece and this is a little smaller piece, so I have a big nose and medium sort of upper muzzle and then, like a small chin, Um and then, like, said, I still have small eyes. But I'm gonna make those a little more inspired by the rial lion. And I might kind of give it a flatness on the top. And around this at the bottom, maybe even at an eyelid here, um, I might go with him being a little bit smoother. I like the unkept, uh, sort of kept nous of the first. So maybe now I'll start designing the Justin Bieber version, where he's a little bit cooler and a little more unkept in his hair and stuff. So hang some over the front here, trying to break up the shapes. By having that like that, His, uh, may be coming around his years. She's got some hanging here. It's all play with that, Um ah, a little thinner, maybe a little thinner in the face, so it's sort of a still a diamond, but it's a thinner dying with really playing up that the bigness of the nose, Um, and then again adding me more hair here in, and I'm doing bigger ears here, a little bit more riel on the ears. He's just fought the Fabio of applying for a little cooler or romantic fleed. I don't know, give him, like, kind of cool look on this race. Hopefully, it's kinda odd, isn't it? Um, Anyway, you get the idea. This is This is how I would start playing with designs, and again I'd let the photos lead me a little bit. And as far as I'm just trying to really search out, I love that side view. Um, you know, what are the shapes that I could play with, you know, is that no straight out. And then, uh, you know, I like this with maybe it all feels like it's all sort of like scar waas, right? All one shape. So maybe, at least from the side view, you know, that's what he looks like. Um, and I start playing with that and that hopefully gives me other ideas, too, as I go, um, you know, like maybe maybe the hairs kind of going a little tough at the end here on again, gives me some ideas on how far do I want to take something? And, you know, maybe he's got sort of sideburns sort of cut in here. I like the hair kind of comb back there, so that gives me an idea, that kind of play with that shape. Pretty soon, I have some, you know, some goals, something that I'm tryingto reach for in some shapes that I'm trying to define too. So I start seeing those things and see I stretched out his face and made it a little bit longer. Um, but the count trying to define these shapes and trying to make things as clear as I can as ago, and that's the kind of exploration that you should be doing at this very early phase. These designs might just be what I do As I'm experimenting, I may I may or may not even showing to the client dipstick beginning on if I like him if I feel like they're strong enough to show. But really, at this phase it's been more about just experimenting, trying to figure out where I want to go, getting as many ideas as I can, but without drying up everything either. I don't want to be like Okay, now I can't think of what I will do next. Hopefully, it's just gave me excited about different shapes and now what I can do. Then let's go. OK, I would like I like where some of that was going. I like some of this research I've been doing. The next phase is really going into the more the final sketches that I probably will show to the client. Maybe not all of them if I don't love every single one, but because again it's still all part of the experimenting. But the goal for me at least, is to say OK, I'm starting a narrow started figure out what? I want to show a client. So because I've done my research, I've done and I'm condensing all this. Obviously, my research would probably take much longer. I'd really look at how animals are the anatomy behind mines and things like that. But now I'm starting to sort of focus on OK, what I want to do for this client for this project. So my next phases that I'd start really think about opposed to that would go along with the design I'm starting during figure out or designs that I'm trying to figure out. So why bring opposes that? Um I do think it's important when you're showing a client any kind of a drawing of a character design that you really consider the pose that it's in, too, because any expression along with that, because, really, that's gonna be something that it's gonna they're gonna kind of get locked into, especially the non artistic ones clients. They're gonna g Oh, wait, that doesn't look like whether design is great or not. Don't say Well, he's not happy. Here are characters should be happy in yields. Whoa! Well, I can make him smiling. I mean, that don't worry about that. But believe me, they get thrown. And so, if you know, a personality that that character is supposed tohave and at least in a generic way, probably pretty much everybody's gonna want a happy character. Um, Then you should probably put it in a pose that shows that happiness or that joy or whatever . Or if it's a sad character, whatever personality that character has, you want to try even in the character design phase as much as possible, include that. So my next phase would then start being okay if I really like to see one of the last ones that I was doing sort of a long, thin lion, right? Are long, thin shape. Um, you know what? Can I start? What kind of opposed can I start putting him in? Um, that's really gonna I'll make him sort of proud and, uh, like, big chested. So I'm now I'm starting to think about poses and shapes that might look together, look well together. Um, and I'm just sort of really quickly kind of figuring this out, But if this is the shapes, and then I'll start going, okay? Well, I really liked where that one was headed. What are those general shapes. But now I'm really trying to figure out opposed that goes along with it. I might put those ears on top, and I mean, I finish this all the way to the final, but, um, I'm gonna want to start putting it in opposing expression that hopefully will get them excited that client on make them go. Oh, yeah, that's that's got the personality of the whatever Tony the Tiger, Whatever character that say we're tryingto create, that's oh, yeah, I see it now, you know. And that's the thing is, as character designers, we're trying to get them to be able to see that, Yes, this is the character from your script or from your TV show or from for your website, whatever it is that you've been asking about, that that you said you wanted. And so we're not just selling a design as much as we are selling a personality, too. So really nailing that in sort of your final, um, submission. Even if you have multiple characters or multiple versions, you're going to show, you know, they should have a feeling of what? That character is not just a good design of a care of a lion. Um, so I start kind of playing with, you know, they have, like, a big kind of almost pop adore kind of thing and, you know, a big grand here, but that hair cut come down the front two. So it comes down into the middle here. I noticed that I'm trying to really look for the shapes and, uh, the flow through the whole thing in the accents. His shoulders here is that hair kind of comes around his shoulders giving big, pretty, big shoulders here throughout his chest. Usually, the client asked for a lion. They probably want a big, you know, heroic looking, lying in most cases or scary. One of the other. Um, this one in this case is gonna be more fun, you know, but still very command Lee of kind of a lion. This is all his hair even, you know, even at this phase, all starts shaking. And some things, maybe just to kind of make sure that they it's real clear. Especially a rough drawing like this. It's real clear. What if he has What? So just nailing down the last few things so that I hopefully have something that I can show . Like I said, adding a little bit of sketching and they're a little more some some shading will help sell it. So they really see those clear shapes and know exactly what all of it is that they're looking at. I'm probably gonna Sheena his nose a little bit too, um, so that it's a little more presentable, A little bit more clear what I'm selling Teoh, do you know, whenever them to not know where the I is and what this is? Can you describe what I'm looking at? That kind of thing is not good. Um, so and I may just sort of like, let this drift off me, not finish it or not. So that might be a little bit closer to something I might show. Um, it's rough, but it's getting there. So, to me, that is kind of the whole process of not only how you design a character but the intentions you have, and in this case it's for a client or for for a reason 3. Assignment: Oh, just like what I went through with this line. I want you to take on this mantle of okay, I'm a character designer, and this is a client of meeting with. So here's your assignment. You need to design a cute little quality character, and this will be upon the website also kind of reading this, but, um, and it's for a local house painting company. And what you're going to do is there a little unclear on what style they want. So, really, the sky's the limit on how designing your simple or realistic you want to go? I'm not gonna make any perimeters there. Hopefully, it's your style that you work with it. Um, but you may look at a Kerch in, say, I want to do it in a Hanna Barbera or Cartoon Network or whatever monger enemy style. Um, but it's a quality character, and it's just be wearing traditional white painting overalls and a hat because it's for a painting company. So they want something they put on their business cards and website. That's their little Qala character. So, uh, you want to do at least 5 to 8 different versions of a quality character. And, yeah, he's probably gonna be a happy character, is probably. It's a little generic here. They're not really getting into personality. Of all the moods and concepts of what this character is, it's more of a generic happy character. So because it's just something they want to use his iconic character that speaks for their company. So this is the kind of thing you get a lot. So I think it's a great first assignment for you. But go off and do those five and eight different sketches and then come back and watch what I do. I'm gonna do the assignment myself next. 4. Lesson 2: All right. So welcome back. And hopefully you've watched part a of this lesson on how to create a character with a purpose. Um, And now what I'm gonna do is I'm gonna sit down and do the exact assignment that already gave out to you. So the goal with this assignment was It's for pain company. And we're designing a character for their logo and for their website and may maybe down the road, they put it in catalogues and need different poses of the character. But for now, it's just generally doing a happy koala painter character, you know, house painter. So they this there is some reference already pulled together some reference, and I'll put it right here. This is what it looks like. This is kind of what I would do is after I've done my Google search or whatever for koalas , I'll put together a sheet like this of all my favorite shots. You'll see I had I have a side view, couple side views. I have him. What a quality car looks like walking case. I need that more of a nice 3/4 a front view. This is just a fun view of him coming at us and him a little bit more from behind. So I could kind of see what? How big is the tell, you know? So now I get to see that. Well, they almost have no tell. Um, even a close up of a hand. Did you know that koalas have two thumbs? We may or may not use that because most people don't know it. It looks really odd. So whether or not we put the two thumbs on there, I don't know, you could see it here to £2. This was just super cute photo. But it also gives me different angles of faces and stuff. So, like how fat this guy waas so and then, of course, I have my reference for what? What a painting costume looks like. And you want to definitely research that because that's something. In this case, our client would be very picky. Probably about the painting outfit, even more so than how accurate you are about quality, and then a painting hat. You know what those look like? So now I'm gonna do sort of like we did with the lion, and I'm just gonna start experimenting and Actually, I already did some, so I'm just going to show those real quick. But this was me just sitting down with a ballpoint pen once. I already had a hand. My reference. And I'll have this up on the website for you. Um, I want everybody use kind of the same reference, just so we have and you can get more if you want, But generally, this is kind of important just to have the same stuff. Then I just start doing searching for shapes. As I wrote down here, you know, Does he have a neck or no neck? A lot of these, you can hardly see a neck. Um, you know, I'm asking question. I'm looking at shapes. Is that you know? Is it more curved on the bottom and a little pointing at the top? Is it? I like this slope. I noticed a lot of them, you know? Look how low the eyes are. If you look at a real Qala, it's very flat on top. And then the eyes don't start toe way down here. And of course, the big oval knows that they all have. I start doing that right off the bat. um, little teeny eyes. And look how how far apart the eyes are. And they're just round orbs, you know? So I started playing with sort of cartooning. That is it. Is it kind of a triangle shape? Is it like a teardrop shape? Um, that I wanted to you, and I'm doing all different kinds of did. Okay. How stylized. Can I g o I did like my hello. Qala said hello, Kitty. I know. Can I just do flat across here and just do this u shape and I make. And so some of this is exploring styles a little bit too. Even at this phase. Even supposing sticking the chest out, you know, how would I play with the the overalls? So this was sort of be like I did with the lion phase. Want just This is not anything. I would show the client here. I'm going to start really playing with, uh, trying to think about what? You know. I like the the flatness on the top and how that flows into the years. Um and so a start playing with that shape here, but and then I'm gonna put the eyes really low, so the government put the the equator line here very low on his face. That nose is going. I want to make it really big. So I'm gonna do that right off the bat again. I'll put the eyes kind of far apart. Um, and again, this may not be These got the little little white chin down here? Um, this may not be something like sure. The client. I really won't know that until I'm pretty done with it, But I'm gonna try. I want everything I do. I wanna try and show the quiet if I can, So because I'll have the more I can show, the better. I must start also sketching, sir, from this side here. So I'm gonna try and figure out Let's just go kind of cute and pudgy on this guy. Make a really big Bailey little, but sticking out the back, but more straight right here, um, with put his arm. And I'm looking at the real thing now again and seeing how it's really thick here in the elbow and tapers a little bit of the a t the end there, some of accent that as much as possible. And I'm not going in much of the neck. I must start the shoulder way up high. Um, let's see. He's, uh maybe I'll have holding a paintbrush to. And his behind legs are pretty short. May access that go even a little bit shorter on him. Just a cartoon it up a little bit. So I mean, that's kind of fun. It's a least a start. And what's most important to to me at this phase is does it look like Qala? Um, the things that I think you really want to nail And I was trying to do it. This phase was okay. What are the iconic things that make up a quality? Well, the rounded shape, the big years, that really work off the sides. If I if I did a something here where I said having a draw Kuala and I'm gonna do that shape . But then I'm gonna put the years up here, okay? How all sudden that doesn't. No matter what I do, he doesn't really look like a koala. It looks like a mouse or a little bear. But as soon as I do that exact same shape here, um, but put the years off to the side and nice and big. That says, quality me, that's more iconic. Especially if it's a little flatter. Maybe around her here. So that's what I'm kind of aiming for. Okay, let's you know, let's finish this off and start really going for here. Um, again, the qualities got little nostrils on the sides. Um, make that is biggest possible. I'm gonna Because of personality reasons, I am gonna give him pupils. I'll make these just a little bigger. I always liked pupils because you know where they're looking. So I'm gonna add had a big peoples here, even though they don't really have that. They do have the white around their eyes. So I might add, well, eyebrows that can link into that white If this was color, you know, that's what I'll be white around the eyes, um, and let's do our little their mouths kind of work right off of their noses. It looks like I might keep with that and just do like a tiny little smile here. Hopefully, at this point, I'm pushing things as I go across the kind of just playing, you know, a little bit of trying to figure out what I want to do here as I g o um What's up with this mouth? A little bit when he's got a little tiny little, um, it's white underneath his chin here, so make sure kind of include a a shape change there, um, riel round at the bottom. And then, like I said, kind of a tapering on the sides like a teardrop. Kind of like that, um, we had a little bit of for here and there. Remember, we're gonna dio as I start typing this down in any detail, I gotta remember our costume. So, uh, let's add a little teeny hat. Remember the paying hats or square. So let's make sure. And then they have, like, a really straight brand, so sort of a stylized version of that. And when this is in color and white really look like a painters had, I think, um, remember, we got the straps coming in on the side. Let's kind of where that big goes. Let's put it up kind of high. We'll try that on this one. Uhm, let's see and I'm gonna do you know, it's a little stylized here, simplified, but it's based off of you know what we have over here? I don't see a pocket in the front. Um, did you have sort of a break here around the waist? Yeah, in their baggy. So what kind of handsome bags maybe down here? Yeah. Remember that white kind of goes down here, so this will be white from his chest. You'll see a little bit of it. Finish this year over here. Now, this is just one of four or five we're gonna need to do to be able to show a client. You can't just show him one drawing and say, I nailed it. What do you think you're gonna go, will? Where they could say, I don't know if you know that. So you want to impress them with at least enough drawings that they feel like you did? There's a white It looks like, uh, trying to see in here. It looks like some of the white goes on their arms from their chest. So I'm adding a little break here. This could all be white in here all through here, and we'll see it again over here on the bottom, this arm. So I'm thinking about the color even as I designed it to, cause I didn't mention it before, but the the final assignment is that you would present once the client came back to you. Pick your favorite. Well, for us, we will pick the favorite. Just you will, um, and then do a color version all cleaned up in a color. As if that was your final design that the client I would then use make a bigger paintbrush . Really? That should have some paint dripping off of it or something. Go to color. You would do that? Probably. He's a sloppy painter. It's pretty. Not good. Oh, then his feet. I don't want to put shoes on him. Let's see. But it looks like he has the little films and her flat feet. Okay, so there's take number one. Um, again, when this is all in color on maybe even for this justice help sell it. I would probably add just a little bit of shading. So he knows what's white and what's not between, Um, the brakes here help sell it a little bit, Um, makes that white hat look white to because if I did a final in this anyway, I would do a cleanup, another drawing and paint that digitally, probably in photo shop. So I mean, shitting this in is not good, you know, really heard anything since I probably draw it anyway. Okay, so there's one version, right? It's a It's a little bland, you know, Admit it could go. We could go further. So I'm not gonna do every single version. Probably. But I do want to talk about how we could push that. Now that we've done that, I might look that go. Okay, Now how do I go? Different. What's a different direction? I could go in. So just now that I've already done one. Now I want to be able to look at it again and go, Okay, How can I push that? Because to me, that's kind of it's fun, and I think it could work. It's just a little on the bland side, like it's a little too Disney, Um, and not that there's anything wrong with that. But maybe I want to do one that's a little more stylized. A little more push. So what would I push already did well this year. Especially pretty big, Um, but I like the big years and Maybe this time I'm gonna do something that I love. This side view. Right? Um, um, maybe I'll combine a little bit of that. Do you like more of a 3/4? I liked the teardrop we had. That feels very koala. Let's do really big ears still. Um, and maybe this time let's see what we do different. Uh, I'm gonna go even bigger with the nose. Hopefully, um, and I'm trying to think if I want to go a little more stylized on this one. So, um, let's see. I might do, like, comes straight down here, do a real small body in this case to look, maybe even smaller that, like, down here, I still like him. Chubby. To me, Chubby is the way to go, um, again. And still small on the legs. Maybe, maybe more. I'm trying to think it opposed to. So maybe little further apart. Um, and then, you know, let's do the hand on the hip again. Just for now, from trying to see how these can kind of flow together to a little bit. The shapes for the eyes. Let's see. Um, I think we're still far apart and small. Is that That's another iconic part of Kuala. But let's do a wide grin. Let's let's dio It's crazy. Qala here can go a little a little more goofy. Maybe maybe we'll even add the eyebrows up here. Little beady eyes this time, Remember, we gotta put our hat on. So include that here? Yeah, this is the Osa There. A little little chin down here. Maybe let's really get his arm up here with the paintbrush notice. I'm trying to do shapes even as I posed this out, you know, You know, with this more straight here, and this is more of a curb. I like that. This has got the curve when he put his elbow out a little bit further. Let's maybe make is overall lower this time. So that's the top of the bid. The very least, it's gonna be very different from the last one, and that's that's good. We want there. They will give them cuffs, cuffs on his trousers to get a little more stylized twos. Straight big years here. A little straighter on the top and then rounder at the bottom. I think it's gonna look good, you know, little hands. It was cute. Okay, um, and we could give him a little shoes here. You have, like, sort of stylized shoes. I don't know. I like that idea. Look like high heels. Crazy. A little thicker eyebrows. So there's a totally different version, right? Were Kuala Painter, um, emblem on his hat, but totally different. Right? Um, and that's good. So we went a different direction. You want to give a variety? Um, Amy did another one. Let's see, this would be even going more stylized. So kind of taking off of the fund shapes that I liked him beside you. Um, I would need to add the little painter hat which could add right here and then his overalls to that. Like I said, I'm not gonna do all, um, all eight versions because this would take forever. But I wanted to kind of highlight a few to say, Hey, here's some ways to look at it and to say, Here's there's a 1,000,000 different ways to do this. Um, I really like sort of some of the shapes here, and yet to me, it still feels like a Kuala, um, painter running change his painter thing, even simplify it more and this could be pushed to, um thing. Yeah, um, but I will. She then in just a little bit. Just make sure I see where the white shapes are, or the client can see that I noticed that I just used the side of the pencil, but yeah, these air not, you know, extremely radically different. But they are all different enough. So this one to me is the most stylized. You see, As I went, I was getting more and more stylized. There's three versions right there that hopefully are pretty fun. She put a paint brush in his hand but they're all pretty fun. Hopefully and also hopefully pretty usable as faras examples she this one in of Kuala bears that one looks like a Qala bear too Has their costume on, like they requested on three, hopefully have a little bit of personality, too. So if we're hitting those three things, that's those are the three most important things that we can hit. If we then obviously the prettier the design on top of that and the better drawn it is the better. But, uh, job Juan is Did we? Did we address the things that were supposed to dress, you know, is it look like something that they could use in a Kuala bear design that they could use? And I think any three of these could or or at least get us to the point of something that we can finalize. So once you've done the 5 to 8 different designs and you're kind of happy with one sort of hopefully based on what we just did, you may want to do a whole nother pass and do fire eight more, because maybe I've given you some ideas of how you can push your own designs. But what I would like to see you do is hopefully then take one that you really like and take it all the way to completion. And we're gonna have other lessons that will talk about how you can take things to final color and digital painting and things like that. But just in general, you know, maybe later on a piece of paper over that in kit and then scanned in the computer and color it digitally. Or you can take that in drawing and add Markert color to it. There's a lot of different ways to do it but make. I'd like to see you have a final presentation piece at the end. Thank you very much.