Concept Art: Creature Design Workflow

1. Introduction: - how everyone, - uh, - Sandra here. - So welcome to the course in this course, - I'll be talking about how to design a monster and which in this course, - will be talking about Dragon now before we get started with, - you know, - actually designing a dragon. - I just wanna give a little bit of introduction No. - Four monster design. - And it's a lot more about brainstorming and concept. - Justin. - That's why it's called a concept design, - you know, - for your character design monster design. - It has a lot more to do brainstorming and iced idea forming rather than just drawing a self - . - Sometimes the drawing itself actually doesn't really take that long. - One land initial direction. - Now the reason I want to choose Dragon for this course rather than something you know - really wide open, - like Alien Monster is because for concept drawing, - there's two types of constant joins. - There's the confined concept design in the non confined concept design, - and you know what I mean by confined. - Ah, - and on confined, - it means there's something like Dragon would be confined, - uh, - concept design, - and basically you're limited to a specific target in goal were not limited, - but you have a certain target going mine in this case, - nor Dragon Dragon has You know, - everybody in their head. - They kind of know what a dragon looks like. - You know, - two wings for leg, - a long neck. - It doesn't mean that the final goal has to be. - Look half two wings. - Who could have four wings? - That connect doesn't have to be a four legs can have six legs and so forth. - But then the final goal is is still somewhat, - you know, - people see it and they kind of feel it's kind of like a dragon like creature you can't you - wouldn't want really wanted, - you know, - draw, - Let's say bear bear looking creature and call it a dragon. - That's kind of falling a little bit of far from the you're from the design. - So, - like a character design. - If you were to design a pirate, - you know you wouldn't want him to look like, - let's say, - a scifi character. - So something with a mawr car get it cool, - and that will be what I call the confined design. - Now for the non confined design, - it will be something really more open, - like, - you know, - 80 alien pet or or you know a swamp monster. - You know, - it's somewhat it's still have, - you know, - the title Swamp monster or alien stuff should look alien like, - But then you could kind of imagine, - just from the word itself, - the end product. - Something really, - really. - You know, - um, - really, - really distinct. - Everyone probably have a really different result. - No, - the reason that confined, - um, - concept drawings. - Pretty importance. - Because a lot of times when you're working on a project or ah, - no, - for level for game design, - you know you're there. - You're probably giving a pretty specific scenario or, - you know, - it doesn't have to be gained as I could be. - Our illustration, - Your book. - So it was really important that, - you know, - I I wanna walk everyone through how I would come out with, - ah, - my design process for the constant. - What dragon would be 2. Keywords: - Now, - the first step is basically gathering inspirations, - compiling ideas, - keywords and direction. - So what I'm going to start off with in this first lesson is basically before we even get - into drawing will start about, - you know, - brainstorming concept, - design, - keywords. - What I mean by keywords is, - you know, - something to just, - like, - generate the flow of ideas. - Something to generate the direction. - Like I mentioned right at the beginning. - It's not just about how well you draw is about thinking and imagining now. - So for this design dragon, - I'm gonna walk through the life process, - whatever. - Basically, - what? - I'm what I will go through if I was to design something like that. - So cured. - Let's just say elemental. - You know, - the category. - It could be, - You know, - whatever you want to think about, - you know, - elementary. - You know, - it doesn't really necessarily have to be elemental bombs. - Start with that. - And let's say I'm just really brainstorming live right here As I'm recording, - I'm gonna do fire. - You know what dragon could be ice. - Ah, - it could be death. - You know, - I'm not even sure if your death is the elemental, - but that's not really, - you know, - to importantly right now, - you know. - You know, - godly. - Ah, - maybe poison. - You know what could be a cool drag and what could be a cool dragon? - I could be, - um it could be, - Ah. - I don't know, - Snow Snow was kind of Samos ice, - but I'm just doing whatever. - Ah, - what everything I could think about right now. - And let's just move on to the next topic. - Physics. - Physical. - So how would that? - You know how? - What does the dragon look like? - You know, - when you're thinking of a concept, - you don't want it, - just, - you know, - think of the typical red Dragon. - It could be something really Well, - that could be really cool. - So, - obviously, - typically the Jack will be lizard and ah, - sister, - Frog and bear is it bears nothing like a dragon. - But I'm thinking, - you know, - if I want this really like chunky, - bulky looking drag and I don't know, - maybe could be looked like beer. - I don't could have lying. - Um, - I'm gonna put like Spider. - We just put these words here. - I'm not totally thinking, - you know, - pure random words. - What I'm thinking right now, - I'm still trying to kind of form an image in your head while before you get started drawing - . - You want to start forming thes images in your head a little bit like that? - And they say personality was the dragons personality. - Okay? - Obviously could be evil. - It could be fierce. - Um, - let's say it could be, - you know, - just a timid, - cute, - uh, - sneaky agile. - Give me something like that. - And I'm just gonna keep brainstorming habitat where there's a strong where this this dragon - live. - Ah, - So for dragon, - maybe could be underground. - Onder, - You know, - under cave has to say you live in the sky. - Ah, - you know, - I could live in, - you know, - uh, - lover, - Can it be underwater on the water and say a swamp? - So now, - once you have these, - you know words here. - You know, - your ideas are starting to flow a little bit more and let's see if there's any other - physical property that we could think about. - Now, - let's say special features special if something unique about this track. - And you know what? - What? - What is unique about this dragon? - Um it could be spikes. - I could be You're dripping lover. - It could be Ah, - for for I could have you know, - multiple arm. - So I'm thinking of all these brainstorming right now and then. - Excellent. - Basic. - This was probably something you probably should be starting with first. - Basic. - So for basic Dragon, - you know, - how does a dragon look like? - So, - for confined joined. - You wanna establish some of the basic traits? - For example, - dragon would have wings. - Two wings for leg longneck skill. - Okay, - Now, - without we have something really basic, - you know, - generate rate right here because, - you know, - you could start kind of brainstorming in your head. - So how I want the jacket to look like. - So for this basic part, - No, - for this basic part of the dragon, - you know, - we're dealing with something. - You long legs basically wing. - I'm just, - you know, - you're drawing a basic in a silhouette of it of a dragon here. - So this is all probably. - Here's I could you go a tale now before? - Because it's confined. - Concept drawing. - You probably want to stay a little bit similar to, - you know, - this type of design, - but it doesn't mean that has to have two wings. - It got four wing six wings. - Doesn't mean it has to fall exit have to leg, - six leg, - a long neck, - the same thing you break that tail. - You know, - it might not have a care skin that might not be a scale. - But you want to, - You know, - maybe you could get rid of the longneck. - You could get rid of the two wings, - but you don't want to remove every single element of this basic that dragon designed. - This is what kind of keeps it to this on topic. - You know, - you could try to play around, - break the rules, - um, - and so forth. - But, - you know, - just try to keep these things in mind. - Everything you know, - we have written here in this ah, - note their arm or just something to start off the general direction with your brainstorming - and nothing is really set in stone. - We're gonna When we start doing the next part of the lesson work, - we're going to deal with no thumbnails and just sketches. - This is where you'll be pulling out your ideas from your inspiration from so right here. - What you want to kind of set a little bit in direction is you know what type of dragon you - want design. - So right here. - Let's just say, - I'm just going to try to imagine I'm going to Ah, - you know, - poisonous dragon and poison. - I just kind of imagine it with, - Ah, - you say, - um I'm gonna try to stay a little bit far away from the typical dragon that say I want to - do a frog and maybe a spider. - You know, - up until this point, - I really don't know what exactly I'm gonna draw you. - But I just thought thes element might be a little bit cool. - And that's dropped Dragon Might be, - ah, - might be furious. - Fear. - So might be a chunky, - bulky dragon. - Ah, - I could live. - You know, - it's the school, - This swamp census since it's poisonous and dripping lava for hottest Cisco. - If you have some spike and dripping lava and for the basic dragon you know this part? - It's more like it is something that I'm gonna keep in mind instead of, - you know, - choosing what you put cause you know, - I still don't really know what I'm trying to do yet and kill. - I start with the family of sketching Ah, - concept design. - You just keep pumping out idea every step of the way. - You're normally if I was to dio Ah, - concept like this. - I will probably come out with a little bit of a longer list. - I will probably spend a little bit more time, - you know, - brainstorming just the whole back around the back of the ideas. - Sometimes when I start before I start doing a concept before I even start jotting ideas - down before it start doing any type of thumbnails. - One of the step I would do is just purely brainstorm. - I'll be, - you know, - eating my breakfast. - Are we going at work? - I'll be walking around. - I'll be just thinking, - How would this drag and look like? - And just as you keep, - just keep brainstorming, - even though if you don't have, - you know, - concrete idea, - your brain will slowly just kind of push you into a direction off that might be accorded. - This might be a core idea, - and that's when you start to organize your ideas into key points. - Keywords the general direction. - There are different papers, - headings that you know that we could add to this to this list would be, - for example, - ah, - color it could it could have size. - Ah, - it could have. - It could have a say textures, - Whatever you could really think about, - it could have, - um ah, - purpose. - And what I mean by purpose is you know why? - What is dragging for? - Is this a four you know, - for war machine? - Is it just something that lives in the in the wild? - Is that Ah, - you know, - it's a creature that was summoned by an evil wizard. - You know, - there's some type of background story. - You don't let your imagination go wild. - And also, - the last thing I want to mention is especially for confined design like a dragon. - Your head is slowly gonna push you back towards you know, - the typical red Scalea dragon of giant wings. - You want to just whenever your head kind of start doing that. - Just pushed it away, - Push it away. - Um, - and just really try to break free into thinking some type of, - you know, - more, - a little bit more unique, - A little bit more wild design. - It doesn't necessary mean that the Red Dragons wrong, - But that's something you know, - You could easily pull reference felt, - you know, - any time that you want and you know anytime that you wanna you know, - when you're trying, - start to fall too far of the direction. - There's a lot of no images of, - you know, - really typical dragons that you could really fine. - They're after you create a list like this and just somewhat circled. - Ah, - points that you would like Teoh proceed with. - You know, - it's time to do some research. - You know, - you could just one of the really cool way to brainstorm for me is go to Google image search - type poison and to see all thumbnails that can pull pulled out, - you know? - And, - you know, - tight frog and just see all the thumbnails that could pulled out. - Spider, - you know, - even words like fear fears. - Sometimes you end up with a really random pictures That has totally nothing to do with the - words. - And that's maybe if I search a frog, - um, - you know, - I don't know, - a bird might come out, - you know, - eating frog. - So you know it Really? - Google image search and other search engine. - You know, - it really links random ideas together. - You know, - when you search for a word like spikes, - for example, - you might risk it. - Um ah, - lot of really strange image linking stick linking together So once you start doing that, - start getting a little bit of image. - Such brainstorming in the thought and then will be moving ahead to the next step, - which would be just more than starting with its sketches and the silhouettes. - Now, - this concludes the first part of the concept, - you know, - brainstorming for monster design dragon, - and I'll see you next lesson. 3. Photoshop Crash Course: - Hi, - everybody. - Welcome back in this part of the lesson, - I'm going to give a really, - really quick crash course on photo shop. - Ah, - for anyone that's totally new to photo shop. - Photo shop is a tool that has ah lot off features. - And before drawings you know is really limited were not limited. - Ah, - there's a few basic tools that you probably should get yourself familiar with, - and in this lesson, - I'm gonna have a really, - really quick run through of just basic skills and basic tools that you need for photo shop - . - And let's just Scotch start off the basic. - If you open up the foul, - you could click new, - and this is where you set the size of your canvas that you'll be drawing on. - The main thing you probably wouldn't pay attention to is that with an height and here you - could select between inches and pixels and and whatever and also the resolution. - You could someone ignore this for now, - unless you you know you want. - You want printed your final assignments and for print for printing purpose. - You probably once said something at 300 pixels per inch, - so in this case I'm going to create a document 16 by nine inch, - which are already did right here now on for the shop. - When that default window you see this toolbar with side. - There's a lot of different tools. - So the first thing you wanna get used to is this pen brush. - So you have his pen icon, - which the shortcut keys of B have you right? - Click on your on your mouth or your tablet. - You'll come out. - You know, - all kinds of different brushes. - You know, - there's thes brushes that have no till sensitive, - depending on. - You know, - if you're using Ah tablet. - Now there's a brush that has this type of low but textural type effect. - You know, - there's a typical circle brush in photo show, - and if you click on this first square right here, - this is where the color picker is, - and you could select between different colors now and you could select, - you know, - you know, - green and blue. - And you can also pick, - um, - you know, - select. - You could play around the steps setting that would kind of choose a different rgb c m y que - . - About all these low parts. - I don't I don't think you really have to pay too much attention to. - And so you select the color it here and you don't you could start drying. - Next thing you want to pay attention to is slay a window, - and if you don't see the slave window, - you go up to windows and could player. - Or you could see right here for PC's F seven. - So layer is really important as well. - It make use of photo shop where the one of the key advantage for going digital is a - cassette. - Create new layers. - For example. - You could click the circle the square button to create new lay on top. - So what happened is, - you know, - anything you draw on top, - it will be on a separate layer. - So this is really important when you are, - you know, - creating sketches. - You could, - you know, - you don't have to worry about us being to clean cause you're always disable layer and for - layers setting, - there's also nothing that I use a lot is opacity right here. - Right above you could lower capacity lower or increase so passable layers. - If you're doing sketches, - especially, - Ah you know, - when you do a sketch is you think it goes to dark, - you could kind of just slow it a little bit so you can see what you're trying to do now - when you have a layer selected and it doesn't matter what Ah, - what tour you on? - If you hold them control, - you'll see that your pen cursor has turned into the arrow with this kind of plus sign. - This is when you could drag the layer and you could just shift things around. - So this is also important when you want to just, - you know, - you move things around that's you don't want draw too much in the centre. - Could smooth a little bit around like that. - Someone create a new layer and assists that one a jaw us square. - So you know you can move the square around depending and how ah, - the final position that you want So I could have ah trying over here. - Now, - another tour that you probably want ah, - you get used to is the to lasso tool. - There is a circle, - and there's a free hand last, - so let me just score the free handle, - but free handouts or basic select Oops, - you could select whatever object you need by just selecting it. - And again we for press control. - You see how it's not a plus I anymore because you're selected part of the image. - So basically what does it cuts and move things around? - The second moved this triangle above organ select both and push control and moved them both - away. - Now the difference with here this one of the circle you could drag and just create a shape - lasso where you could, - you know. - And if you hold onto this, - you could change in a square lasso. - So this is basically different type of our way to select them. - Ah, - select ah portion of your layer and you move things around. - So what you wanna keep in mind is you see how in the small thumbnail of the layers these - two have these checker pattern of the back. - What this means is that these chequered patterns are transparent. - So even though you know, - ah, - you know, - if you're used to working in the traditional way, - you know, - you might not have the concept or something that's transparent, - but just watch what happens in this background. - I'm gonna draw a circle in a square number select square, - and I move it. - Watch what happens when I move this square. - You see how the white area is cuffs starting to cover the circle right here. - And this is because even though I'm trying to cut the square because I'm actually cutting - the white as well. - So imagine this is a piece of paper cutting the white. - That's why I'm moving when I'm moving the white colors away. - You know, - this is kind of covering the red circle, - and you can also see in the stomach of this background lee the most default layer. - You know, - it's not transparent. - It starts off with a flat color. - So if you want to just purely move this square, - you could either, - you know, - really selected carefully or create a new layer and draw the square. - And you could move this graph really around because everything other than square is - transparent. - Now these are some of the really main tools for for the shop that you probably want to get - started. - I want to learn, - and you know, - there's just a quick run through. - There's a race or two week. - Obviously you race you erase an object and that you race a tool. - I get the studio, - Get these questions a lot. - Sometimes on the background layer skin one second and I'm just set up a color. - You go. - I say I want to erase the square that I just drew right here. - I'm not using eraser tool and I'm erasing. - But watch what happened is starting to it actually comes up as blue. - So sometimes do you have no idea wise coming out as blue? - This is because right here for the bottom square palette you have this blue setting here. - This is the background color. - There's a foreground color The computer for the shop doesn't have can't you can't tell what - the backgrounds hell was supposed to be. - You know it, - This background You see, - this color's actually field as a white, - but because this background coast set as blue when you race it pretends the background - color is blue. - So is released issue racing this rare, - but it's replacing over the background color blue. - So you want to you know, - if you won the race of white, - just keep it. - As you know, - keep this background colors white. - But if you're using racer tool on ah label transparency, - this is not gonna happen because, - you know there's nothing behind it is in a transparent layer. - So that's something you want to keep in mind The other tools that will probably need in - while working. - You know, - I'm probably talking alot about it, - you know, - doing the lessons where we actually start sketching. - It starts cooling. - Now, - the last thing I want to go over. - Ah, - you know, - with with this crash course to photo shop is the layers blend mode. - So watch what happens right here. - I have this red color and set as normal right here. - But if I set this watch as multiply, - which is something that you're used really often, - you see how the red can it goes over. - It kind of becomes transparent color. - Uh, - going over the colors beneath. - This is what multiplied. - Does this kind of imagine you have this red drawn on a real transparency and whatever color - you overlay is gonna dark in the colors underneath. - So where does this come in handy? - For example, - I'm doing Ah, - you know, - I'm doing a sketch. - I'm destroying this. - Say the squared here. - It doesn't really matter what draw and on top I'm joy eyeing Ah, - I'm not even sure what I'm joined enjoying this this box. - Oops. - I have this brush set that the former sometimes, - you know, - ignore this said this is normal. - So I'm joining this some type of shape on top of this circle, - this, - uh, - shapes on top. - So I can't really see what I'm drying underneath. - So if I said this has multiply, - you know, - I just see what's what I'm joining underneath, - and you're going to see how this is handy. - Ah, - later on expression with dealing with colors when we're dealing with sketches, - why the reason why you want to trust, - you know, - people to see ah, - the claws underneath. - But just keep that in mind. - Your different type of blend mo will have different effect on the layers underneath the - current layer that in the most common layer that you'll be using is probably normal and - multiply for other other layers. - You know, - you could play around with the effect of what us and, - um, - you know, - there's a lot that can be done with photo shop. - And so again, - the brush the lasso, - the layer window holding control to move layers around, - and the blend mode and that should be it for the really quick crash course in full show and - we'll get started withdrawing. 4. Silhouette Thumbnail 1/3: - everybody. - Welcome back. - Now it's finally time to get started with visualizing the concept and visualizing the ideas - . - You know, - I organized right here from the first lesson of the key words that were chosen. - Now we're going to start to just brainstorm about the form that shapes and silhouettes. - Now, - just keep in mind, - you know, - the silhouettes and form it doesn't necessarily have to directly, - you know, - follow all these limits that we created at the beginning. - You know, - when you're doing a ah concept dry, - Never let anything really limit yourself. - You know, - disco for you. - If you're for with the design, - you know, - it's a back and forth process. - You can't just, - you know it's not. - Ah, - when you're doing a concert, - you can't just, - you know, - only start off key word. - And based on the key word do thumbnails. - You know, - everything have to go back and forth. - You know, - while you're doing the thumb there, - you might you know, - you might change some of the ah keywords you had in mind. - You know what and you know, - but then keyword is a mainly as a starting point, - you know, - is a good you know is a good general flow general direction for you to start off with your - concept. - So now for the silhouettes, - you know, - with these things, - you know, - just keep it a little bit to keep it at the back of your head and, - you know Okay, - let's see. - What am I gonna do? - The dragon for the dragon. - You know, - usually when you're gonna start the silhouette, - you just want to keep in mind. - There are the basic traits. - A two wing four legs, - and again, - this might sounds, - you know, - contradicting that. - Still, - it doesn't mean that it's limited to two legs. - Four legs, - two wings now for forced silhouettes. - There's so many different ways, - Teoh. - You know, - you silhouettes. - I'm gonna do this in photo shop. - But however, - it works pretty much the same ways in in Ah, - in pencil on paper. - So what I what I personally tend to kind of do I tend to use a little bit of a little bit - of lighter color, - and then I'm just gonna, - you know, - go really, - really sketching the form now because I know that, - you know, - there is you're gonna be a body. - There's gonna be a leg, - So I'm just you see, - I'm not doing any temple. - I'm just kind of drying scribbles. - I'm joining scribbles, - You know, - I know that there's leg, - and then there's probably a wing, - you know? - I'm starting to go. - It's starting to look, - you know, - just a general basic form of a dragon right here. - I don't really have anything specifically in mind. - Just the general silhouette off. - What? - You know what will represent Ah, - the peace. - Really? - Well, - so here I'm kind. - I could do a few different way. - You see all these Lois Tripoli lines? - What helps me with having the scribbling lines is that when I come back later to look at - that strong of these little lines in the middle of these lie in the middle might give me a - little bit of ideas, - and I'm going to use the eraser and same thing with the racer. - Um, - you know, - I could raise chunks of it, - and just to kind of slowly form Ah, - you know this silhouette. - Now, - what you want to keep in mind is usually for me, - especially the first sketch of drawing, - and usually it looks really plain. - There's nothing really. - Um I think. - Really interesting. - Really too much going on because I'm probably my brain. - Still not free enough to really told her brainstorm, - you know, - really, - really freely. - So here we go. - I have, - ah, - you know, - just really generic dragon. - So that that is what I would do for, - you know, - just really typical settle wet for silhouette. - There's so many ways, - it's just do it. - So now I'm going to start to maybe explore a little bit of form. - Ah, - love. - A little different forms. - Whatever. - Okay, - let's say the dragon has a a really long head and, - for example, - a smaller body. - So I'm not going now going to think back? - No, - I want him to be a little bit like a frog or spider. - So let's let's play off a little bit. - Frog frog. - They usually in my head. - Ah, - they usually just kind of stand on the front front two feet. - And they had this, - you know, - long leg of this feet going down at this point of the picture, - You know, - it might be good to kind of, - you know, - again look for references. - Look for references. - How Ah, - Fogg looks like and maybe confine a little bit of a general idea. - Now, - here. - I think the leg is a little bit off balance to support this giant head, - obviously. - So I'm just gonna keep it down. - But always remember, - there's no, - you know, - wrong method, - uh, - in this, - uh, - in the sketch. - So now I'm sketching as I'm sketching and keep in mind this is basically I'm doing this. - Ah, - life in the sense that I still don't really have something really set up in my in my mind - right now what I'm trying to do. - So I'm just trying to bring stone with it. - You seethe circle, - for example, - just to understand, - just to kind of explain my, - ah, - chain of thoughts, - You know, - the circle it might be because I'm thinking, - uh, - of the cheek of a frog. - She cough frog. - That's why you know, - I'm having this little circle, - and right here I'm not dealing with any type of any type of ah detail features at all. - So maybe the wing normally starts out for the back. - Maybe the wing here, - maybe start off a little bit. - Mawr at the top part of off the neck. - So this is the back of the wing, - so this still feels a little bit imbalanced. - I'm gonna baby pump up the chest a little bit right here. - Um, - the head, - for example. - Right here. - I think it's looking a little bit too big or too big. - So I'm going to collect this and push control T. - What I'm gonna do is I'm gonna make the head a little bit smaller. - Okay? - So it's going to start off with, - uh, - you know, - again using Eraser. - No, - overall, - I think there's a little bit of Ah, - you know, - there's still quite a lot of issues here. - Ah, - the body, - the form and kind of He kind of really looks a little bit chubby. - But that's that will be my general. - Generally, - my second sketch. - So right here. - You want to keep these? - Keep these sketches really short. - Ah, - and really quick. - So I'm going to erase on hide the key word layer. - I'm just gonna keep going back with some news. - Ah, - you don't really have. - There's not really a specific size you have to do. - So I'm gonna try to go with a Asus spider because I had, - despite in mind so Spider Kind of have these legs, - obviously a dragon. - You know, - you don't want to just give him Ah, - you know, - a spider body or anything like that. - But again, - uh, - this is where I'm gonna just start off and see how it goes from there. - So aspired to maybe Kale. - Kind of like a scorpion, - like assesses insect. - That creature can. - I am working with this silhouette. - I have no clue how the head is supposed to look like, - really, - uh, - give it a really long horn. - It's another dragon head, - right? - Ah, - you know, - big Giant Wing. - You could probably just told over and just in general, - just resize diesel. - Oh, - but right there, - You know, - I have a really large canvas, - so I'm just fitting a little bit of, - ah, - silhouettes right here. 5. Silhouette Thumbnail 2/3: - so I'm just come drying, - decide these dragons side on the side view for now, - You don't really have to draw, - you know, - Dragon Cyber. - You could just play around with a lot of rent. - Random shape on, - no on, - different on different, - different angle. - So and you could maybe, - for example, - I could explore experiment off a little bit off different brushes. - Um, - you know, - there's a lot of different Russians and Photoshopped that you could really work with. - And just like I'm gonna this time, - I feel a bit restricted with the way that I was doing This sketch is so I have this kind of - kind of stuck, - dry marker type brushes, - So I'm just gonna play around with these random shapes in this shape. - You know, - these I had the dragons and now doing in mind when I'm doing it. - So here I'm just kind of trying to play with kind of play a little bit with more of a - random shaped of how it goes. - So I don't know. - I don't You know, - right here. - I'm still trying to pick out Ah, - you know what exactly? - I'm drawing. - I don't really know what exactly. - I'm joined, - to be honest. - And now that I'm doing a thumbnail, - I feel that, - you know, - these part might be the wings of the dragon. - So that dragon might be kind of, - you know, - um, - coming forward. - So this is this part will be where the neck is, - and we'll start to build a little bit of form right here. - I kind of have an idea. - You know, - this is the wing, - the dragons. - Kind of your flying towards the viewer. - So that could be somewhat in another thumb. - Knew that. - That's you. - Sometimes, - you know, - these Anglo, - it makes the dry it makes it makes it a little bit more dynamic. - But you always try to put both things in mind. - You know, - uh, - not just focusing on having a cool post, - Copos. - Ah, - you can always find a composed for whatever design you're trying to work for. - Um, - near the end. - So right here, - let me see what I could do. - I want I'm still, - you know, - not too satisfied with this one. - I'm gonna work. - I'm gonna try to work on something for a little bit of a shorter, - you know, - a short neck in general. - So This is where the this is where the head is. - Give him a really thick, - thick chin. - And this leg here. - So this is Ah, - after when we're done with this Ah, - thumbnail process. - Ah, - the next start. - Next step there are we talking about will be basically finding these thumbnails. - Even with same looking thumbnail, - there's there could be a lot of various different designs. - I could come out with the same thumbnails. - See, - I'm using the racer. - Kind of kind of doing a tiny bit of detail here just to kind of just, - um, - fine shapes within these shapes. - Here. - Isn't some meal over dragging? - Kind of like a little bit of you know, - how you know how this stomach is coming up. - It has this really, - you know, - bulky Look to it and kind of looks nice. - Let me go back to keywords to see what I was thinking of. - Your frog Poison Spider fears Spike. - Oh, - there's a spike drift jumping lava and swamp. - You know, - let me just try to go for more thumb there, - and then I'm just gonna go Ah, - come back todo list and work on it a little bit more so Let's go for, - uh mm. - So what you're looking at right now is basically the the exact process that I usually come - . - Ah, - when I'm trying to solve a design. - Ah, - design. - Ah, - concept design issue. - So you can't draw this drag and, - uh, - car will be more upright. - See how it goes. - So I know I have this, - you know, - right here. - My thought again. - Ah, - just explaining a little in life thought process. - I know I have this general thought in my head I can't really seem to pinpoint it. - Exactly how I want this dragon to be. - Give him a little bit of longer arms. - Just make you look a little bit better. - Longer arm right here is planted to the ground shoulder. - So whether or not you're you know you're doing this, - Um, - by photo shop or by hand, - it's follows the pretty much same theory by hand. - You could just find that you know, - thick marker. - Or you could find a ah, - you can use scribbles you could use. - Ah, - you know whatever method that you want the as long as the focus is really to create Ah ah - shape. - So this thesis current dragon them kind of designing is a little bit more. - A short, - short torso and folk has a really wide for example, - Why tail? - And then it has wings That really goes upwards. - County's nail wing right here. - I'm joining the back wing. - Here's I have this, - like, - kind of really general. - Look right here again. - I'm gonna slow lowered down so things are a little bit similar in size. - That's kind of just kind of take take a look at these few bunch of thumbnails that I just a - sketch school, - organized them a little bit better. - And you see me with this 1st 1 that I started off Start off with. - It doesn't even look like a dragon. - Looked like some, - you know, - a little a little wimpy out these little of this little wimpy like in a warm type character - . - Now we have the first set of just that general brainstorm. - You see, - I think as we move forward and get get a little bit more relaxed, - you know, - the thumbnails are starting to come together a little bit better in terms of in terms of - the interesting silhouette 6. Silhouette Thumbnail 3/3: - it's right here. - Now, - the next part for this when I was a just anyone using digital is have a layer right here. - So I'm gonna make a copy of the Slayer, - and then I'm just gonna hide. - I'm just keep it kind of as a backup original thumbnail. - And what I'm going to start doing with the 2nd 1 is I'm going to start moving the shapes - around. - I'm gonna start playing with them just to see if there's anything interesting that I could - come up with. - You know, - um, - again, - Brainstorm. - Let's see, - I'm gonna put this dragon I'm gonna merge it with, - you know, - with here, - I'm gonna maybe extend it with here a little bit. - I don't know. - I'm just going to try to, - like, - you know, - merge. - These, - uh, - put these characters a little bit together and see, - you know what could be done. - And, - for example, - I like this off torso right here. - So I'm gonna copy and maybe just try to put it with Sears, - put it with with with this with this character here, - and I just selected and move it a little bit back and move the slope forward. - So right here. - Ah, - I have this. - So maybe Ah, - base on this. - That kind of these two different type of silhouette. - I could kind of see if I could come off anything interesting, - I think overall, - the because the head Ah, - copy and paste is looking really similar to here. - But it gives a little bit of variation, - terms of body. - This body kind of trails downwards a little bit, - and I think it creates a really interesting I could create a really interesting dragon. - Azaz. - Well, - and you know, - it's forced before this this one, - You know, - I could maybe just cropped. - Ah, - you know this top part? - Ah, - here, - Duplicate live and let's say put it with ah, - with I don't with this dragon and which is gonna do you use any racer behind And it's kind - of erased what I have at the back and, - you know, - just take what I what I need from from the bottom one and, - for example, - in this case, - one second general shift everything down. - So in this case, - you know, - because I'm urgent here, - I could see maybe things to wing is kind of works a little bit better, - so I'm starting to pump out these a little bit Interesting design. - And I see you know this this lake, - the spider looking lee coming from the bottom, - I think it's it actually has this really interesting look to it. - So I'm gonna, - you know, - put this keep the spider legs in right here. - And, - you know, - I'm not really sure how the thes back legs gonna be because he's a poisonous dragon, - you know? - Who knows? - Spider legs? - I have, - uh, - designed someone like here. - Now I can start chopping away things. - Um ah, - for these. - This dragon. - Let's see. - I'm gonna race part of it. - I'm gonna get a racer and his create these l a bit are interesting shape through the using - the eraser. - Maybe he's a really, - really skinny looking looking dragon. - It's just playing playing with the form a little bit more. - It's back leg on, - see, - head to have a really, - really, - really narrow head. - For example, - staffs another, - you know, - interesting. - You know, - our dragon Ah, - design. - So you know I'm gonna keep copied Eesti, - wait here. - Push control shift. - See? - Which is I'm going to copy it and they open up the original one let me just extend the - canvas a little bit. - I'm gonna use the crop function and just make the campus open bigger and just fit in. - Um, - the last, - the new thumbnails I did right here. - Its position somewhere. - Share. - You see now why? - Here we have a we have a page of Ah, - you know, - really simple thumbnails. - You know, - right here, - you can see that. - Obviously, - the the some there's at the beginning. - You see how I said you know, - the thumbnails at the beginning? - It looks really ah, - really simple. - And, - you know, - it's not really that fun. - And that's true. - You know, - as it gets, - more and more developed were starting to have really, - really more interesting shapes. - So for right here, - I'm gonna keep this. - Ah, - for the layers. - I'm just gonna again. - This is my original layer. - I'm gonna right now what I'm going to start to do, - I'm going to refine the stomach nails just a little bit more. - But not your point is really, - um, - you know, - detail or anything right at this moment. - So this is where I started again. - Think about this early element. - Poison far expired. - A dripping love a spikes. - Um, - for thumbnails. - Start by adding a little bit of spikes right here just in general, - cause I Let's say I really want to, - you know, - just put Nazem spikes here, - okay? - Just gonna play around with this. - Having these giant spikes on the head. - And, - I don't know, - Strat Spikes were here. - You could have a hook and of the wing, - Keep it. - You know, - you always keep your, - you know, - head free of Ah, - and too much limitation right here. - I hear I'm just really trying to again Still brainstorm as much as I can, - because after you have the silhouette somewhat done, - you're gonna probably come back. - And you don't draw over this to refine your sketch, - which is the next step that will be talking about. - And then that's where you could. - It opens up a lot of room to still do something really drastic. - Different to ah, - to the overall silhouette. - You know, - I'm to a point where I'm gonna give up hunting. - Distracting the silhouette is limiting. - My, - uh uh you know, - my creativity that I can't really do anything really to cool with it anymore. - I think from receive I can imagine this kind of armor coming on top of this dragon - a small - detail and, - you know, - as a So I'm working for this. - Ah, - on on this design. - Ah, - in my back on my head right now. - I'm kind of leaning a little bit towards this. - The science still like I could see a lot of possibility when I'm doing the final. - So by the time you know when you're working fine. - Note of the final, - the thumbnails. - You know the image just slowly begin to form in your head. - How How is this? - Uh, - you know what? - What kind of cool idea is gonna be Ah, - What you gonna do with that? - Fine. - With this dragon, - there's a few dragon that I think you know this this one might even work a little bit. - Ah, - as well. - Depending on on how I decide. - Teoh approach it global. - I Yeah. - - Small - details right here. - Just do you know, - give me some brainstorm again. - And I think a spiders and just putting some strange spider furs in here and give it a - little bit Mawr Bigger wing, - more kind of ragged, - it looking ruin. - That's holes here. - You can see right here for this one. - You see? - Now, - this one after looking at Ah, - at here, - kind of Give me an idea. - What if I gave him a lot of furs at, - you know, - at the top, - top of the back of the character, - Obviously, - in my initial direction. - You know, - I never considered for, - But, - you know, - if if it's kind of give off with this kind of really interesting look ah, - you know, - it's it's not It's not necessarily bad to just kind of swap the designer here and just come - off. - You know, - this is kind of furry top design, - and then right here, - um, - what I scan to see from this silhouette again just to explain my look for thought process. - These really ragged line right here. - I kind of imagine him having a little bit of Ah, - you know, - really kind of strange looking. - Ah, - can and Nana, - you these kind of bony looking body. - That's something I remember that I could really play with right here. - And it has a body kind of open up. - You know, - the spice coming down. - I don't know. - It's okay. - So this is the, - you know, - the General overview of how ah, - the thumb there was going to start. - And, - you know, - you could probably keep going on your thumb. - There's more, - more and more as we're gonna you know, - as much as until you know, - you just can't think of anything so normally I might probably start with even, - maybe twice a smudge stomach me Or is this is that brainstorm? - Because, - you know, - after this brainstorming thumb their portion the next part is basic kind of refining our - thumbnail and just testing different type of Ah, - you know, - the little details, - little details is really important to the overall design as well. - So but you don't want really want to move into the detail unless until you personally have - ah somewhat satisfied with how the general direction is going. - This is this thumbnail. - You don't have to be totally exact because you could still change it while you're while - you're just I'm sorry I lost my train of thought right here because I'm joined the wing. - You could still change his thumb there. - While you're trying to detail why you detail it up a little bit in the next step. - But then try to you know, - try your best to find Really cool course silhouettes right here. - Now if I were looking back again you know, - this character of the wing? - I think the wing lives all but two new Now will probably really cool off the second The - flaps of the wing, - you know, - really extended and having this really long giant ko kind of coming coming from the back. - So here we go. - This is the thumbnail process and then the next part will talk a little bit more about - detailing stage off the dragon. 7. Refining Sketch 1/3: - everybody adds me again. - Andrew and I'm back for the next part of the course which is refining the thumbnails that - we did. - So we have a thumbnails are some They was just really just the beginning. - The whole concept processes starts off by giving your interesting silhouette. - If further refines the direction that your concept was supposed to be. - So the next part it is, - you know, - from silhouette. - You know how to, - you know, - we find a little bit more detail how to really start approaching the sketch. - Now, - what I'm gonna do right now, - first of all, - is I'm gonna Lord opacity of thumbnail. - So it was a little bit eyes kind of this gray form, - and then I'm gonna go and I create a layer on top right here. - I just created on top. - And this is a layer where I'm going to sketch based on the ah, - based on the thumb. - There's so basically I think the photo shot when I zoomed in, - that kind of showed a little bit of this sketch daddy for the other. - As for some of thumbnails, - basically what? - How I'm going approach this is is that I'm going to do? - Ah, - live sketch right now on how the thought process and what involves. - In my mind, - I'm doing the thumbnails, - and then I'm gonna basically, - because, - you know, - the living time, - and we'll show you some sketch that I did on my own time afterwards, - on what could be achieved for each of the thumbnails. - So here we go. - So when I'm doing some the same as when I'm doing the when I'm doing that sketch seems one - of doing some. - Now I'm still keeping in mind. - You know, - of all those keywords I'm thinking of. - Ah, - you know, - I'm trying to make a frog like spider. - Like as some of the ideas, - some fierce looking journals spike stripping love and all those stuff. - And I have to repeat again. - You know, - don't let it limit yourself on on those, - but then that just provides your general direction. - Just like how this dragon provide stomach provides you of our general direction. - Eso with the stomach. - You know, - I basically have the general proportions here, - so I'm going to try to figure out you know what? - I'm gonna deal with it. - So right here. - When? - When you're doing a sketch you know, - this is mawr to do do with, - you know, - basic drawing skill with rather than, - um rather than concept. - You should have a really good understanding of just anatomies of animals in general. - And, - you know, - when I'm talking about animal, - no, - just at the more you study about animals, - you know, - the more you find learn a little bit about joint just because it's a monster designed just - because it's an creature that doesn't exist in real life, - it doesn't mean that, - you know, - the anatomy could be like, - totally, - totally random. - Um, - you know, - it's always, - ah, - something that I love student talk about. - You know, - if it's a monster, - you know, - I can't I just do whatever and at me that I want. - You sure you can, - you know, - enjoying There's nothing. - There's no nothing that's preventing, - you know, - any artists from doing anything they want. - But the cool thing about, - you know, - monster, - designing anything like even character design is that to provide something, - you know, - believable for viewers that creates a lot of strong impact, - and the believability is not, - you know, - on making it look realistic necessarily. - But just that anatomy took four to really make sense. - So you see the feet right here? - I kind of do like a little bit like a frog like feet, - because, - you know, - I want to give this Ah ah, - some type of a frog type of character trait for this. - So me make have been Ah, - bend this leg a little bit backwards, - and I am not sure. - See here I'm trying to imagine and build a form from from the civil wet or here. - I know, - because I remember I put the cure fear. - So I gave him this, - like, - really strong, - you know, - shoulder muscle. - And I see right here, - you know, - these spikes that I did hear it could be the wing. - It could be spikes on the back. - It could be, - you know, - a lot of different things. - So I'm really trying to figure out you know, - what I'm gonna do here. - So I'm gonna put a lot more spikes right here and for this bottom part, - uh, - I'm designing. - Okay, - I'm I'm just trying to figure out this general shape of a frog of frog. - I see how frog looks like. - You know, - I don't even really remember how um, - frog really looks like so just with a frog in mind. - You know, - I'm just keep giving this. - Ah, - General, - I, - uh you know, - at the back of my head again, - I'm still, - you know, - um, - trying to let my creative creativity run loose. - So this is someone a little bit like a frog head. - But then, - um, - So we could imagine this could be a frog work here when it was, - it's kind of maybe like a toad, - giving this really a lot of teeth at the bottom. - I'm just kind of trying to try to brainstorm as I go and that because you know the cure, - Honest qs pikeys. - I'm just using this chance to have a lot of, - you know, - spiking this to the bottom of the of the feet of the jaw. - The top of the head Cavallaro us a little bit off, - Spike, - You don't want to go overboard off anything unless that's the main point of your concept. - You want to just in general, - you add the detail at the at the needed area of adjoining. - You don't want to just totally just fill everyone detail. - So has it just this thick giant neck that neck muscles being connected right here. - So many old for this for the swing. - This thus far that you know this this dragon, - the wing and probably can imagine a little bit fold it up, - like like here. - So because I have a silhouette, - you know, - it doesn't necessary to make wing. - Has to be, - you know, - just this shape it could mean that this is kind of fold it up from the back. - So you see how I cannot did it, - so fold in and it falls back out. - So it gives me this stronger volume for for the for the wing? - No, - for the weighing again. - You know, - you don't my subtle ways like that. - But it doesn't mean that it has to exactly follow this little wet to stay free from, - You know, - these type of boundary When when you're working on concept. - Ah, - you know, - just really, - really. - The main thing about concept drawing is really just let your brain no stay. - Stay loose. - Um and, - you know, - let your creativity run when you're doing constant like this. - So, - uh, - a shape like this and because I have the spike here and you want to keep the concept - somewhat open. - Unify. - You don't wanna have spikes here. - And then you have, - um, - have a safe for other wear and just have, - like, - random traits everywhere you want. - Toe. - You could have, - you know, - different traits, - But you wanna, - you know, - you want to keep things a little bit consistence. - So thing here, - So the other Pataki would be here. - So I'm gonna draw draw this lake and extending backwards here, - feet pointing forward again that I would join kind like a webbed feet type type design from - the soil back feet. - But, - you know, - see, - it was the back feet. - Have a sweet kind of extended. - Uh, - you know, - you It's just hard to see where to put the back feet. - Just gonna put it in a squatting post. - So just generally pretty safe. - Oppose. - And then he was tale tail Could beef coming forward like this. - So here I have a real you know, - really? - You know, - general shape right here. - So just to work on a little bit more detail up until for this point, - you know, - you have to just see, - you know, - um, - are you satisfied with the sketch direction? - If not, - you might want you erase the head and go over it again. - But then, - so far, - I'm so much satisfied with, - um, - off the sketch. - So now it's time for, - you know, - a little bit. - Ah, - a little bit of details you could add again. - This is a spiked dragon. - So, - you know, - Ah, - when you said the when we talk about and listen part one of the lesson that general basic - trait of a dragon. - Your two wings, - four legs and scale. - We basically, - like, - kept that, - um Ah, - all those general traits. - So you could kind of see that. - You know, - this dragon. - I think it looks quite different than you know, - Just a typical dragon that you can see. - Um, - but yet it's still have the general trade that, - you know, - you could call a dragon, - and you know, - you wouldn't Really people wouldn't be like No, - this is totally not a dragon. - You know, - it could be a We're looking dragon, - but and I think it's still pretty much a dragon. - So here we have that backs. - Have the wing where you could just kind of just hint in the civil went for it now for, - you know, - for concept drawing. - You know, - I'm showing you the step of how I'm brainstorming constant joy. - But then, - you know, - because I told you that you know, - the idea is the base from one of most important foundation for drawing. - But so is the drawing skill. - Eso You might feel that sometimes, - you know, - after you get the civil away. - So right now that young isn't coming out, - you know, - nice. - Isn't isn't really coming out too well for for any type of drawing, - No matter what you know, - the basic drawing skill is still a very important factor. - Ah, - the fact whether or not you could illustrate the idea that you want you know, - it really requires practice and drawing. - So, - you know, - at at the beginning, - you know, - if you are having a little trouble with with strong at this moment, - you know, - just think of it as just think about getting references, - You know, - I say, - you know, - you don't You're not sure how to do the head. - You get some reference. - You don't know how the anatomy for for this for this arm would be. - You know, - just just fine your way Teoh. - I get your hands on a little bit of reference, - and any bit off, - you know, - practice and everything is definitely gonna help out a lot in the drawing. - So I'm just adding these little parts right here. - So why are you doing a sketch as well? - You know what? - You were the thing that you want to keep thinking about and keep imagining just at the back - of your head is the background story for this dragon. - You know, - a lot of student in the past. - Ah, - that. - I see a lot of artists around me. - They do this like, - really design. - But when I asked them, - you know, - eso you know, - how does this dragon hunt? - You know what's a percent personality of its dragon off times, - You know, - uh, - they wouldn't know. - Know as the r standpoint, - you know, - you don't really have to know about the, - you know, - the background of your design, - but then it just helps you that much more. - If you could come, - if you could understand the just put the societal, - but just help you that much more. - If you could understand that dragon, - for example right now. - Yeah. - What's going on my head obsolete. - This jacket, - Just dragon has a really, - really strong jawline strong trunk job. - My sore neck muscles are muscle, - but hasn't really I thin. - Uh, - new ah, - back leg. - So he's not necessary fast because he has really bad. - Ah ah, - you know Ah, - weaker back leg. - But he's definitely strong and powerful. - You know, - you could imagine just just hopping attack and just, - like, - really bite onto the enemy. - So this kind of know what it works? - Well, - for the initial direction that I planned for, - you know, - a fierce dragon, - you know, - And he could be poisonous and, - you know, - poisonous. - Here you go. - I'm having him trip, - you know, - having these saliva dripping down. - And you know, - these poisonous aspect and the swamp aspect, - You know, - it could be really done via colors at the next part. - Um, - it could be portrayed through the design elements, - so everything has to really work together. - So here we go. - So this is probably how I would, - you know, - work work on. - Ah, - this sketch right here. - So for concept, - you know, - you don't You want to stay loose? - For how the concept now for your sketches. - I don't want it. - I don't really like drawing things you to clean. - I kind of like to have this really sketchy looking elements to the, - uh to the overall drawing. - I think it gives it a really interesting a local call. - So just adding a little bit off, - you know, - shading. - Ah, - a little bit of cross hatching, - I think. - Nothing too big just to show a general. - Just add a little bit of general interesting Look to the drawing to the sketch. - You want to make sure the feet is really nicely planted onto drawing as well. - So here it would be, - Ah, - sketch one of this dragon. 8. Refining Sketch 2/3: - Now, - let's move on through this this interesting looking silhouette. - Um, - So I'm gonna demonstrate again how I would work on this piece. - I'm going try to push for something a little bit more funky for this one. - So I want to see this dragon. - You know, - there's different ways. - Suppose you could draw the head or Hugh for a long neck. - But you know what? - I'm gonna give it this long, - Jain, - Uh, - giant looking mouth. - I'm not even really sure if this is gonna work, - but then you know how much I'm gonna move ahead instead of a frog. - And I think of what? - What if I do it kind of like an alligator. - Look, - some just going to give this Ah, - you know, - nice jawline. - So really Sendero uh, - head. - So you know whether or not you put the eyes here, - you put the eyes here. - It makes a big difference for for the drawing. - So you could experiment of where you want way feel that I should be or, - you know, - for this dragon even try Teoh do it without the eyes. - So these thes parts on top it could be for but I'm gonna kind of do it like spikes right - here. - And the general body. - It probably spine or probably curve around here. - Ah, - probably have to revise the face a little bit right here. - Um, - but let's work on the other part of the body a little bit. - So he has a ah, - this drag. - And basically from the from the silhouette, - it's ah, - it's a lot more narrow. - The body is a lot more Nero's. - I'm gonna draw the basically feet right here. - Let's give it the sound climate here. - So again, - just keep in mind right here. - I'm brainstorming this alive as well. - I had no clue like before. - You know this recording this how I wanted to do design, - Uh, - the reason I want to do this because I really want to go over this strange storming Ah, - process. - Ah, - yeah, - exactly the way that I would do it so that you know, - you'll understand. - You know the reason and why I will approach things the way I do. - So again, - Maybe a little bit off for here. - I think for this drag and it it will be coming a little bit quite different than typical - dragon. - So I'm starting with the basic and Natalie right here for this one because it has a kind of - a different type of shape. - So I'm gonna start off with a little bit of Maura of, - ah, - an ad me just to show the basic just a have a basic shape would be And then I could go on - top and start adding detail, - and I've kind of decided just so that I don't know if I put the eyes here. - We look like he has a giant head. - So I'm gonna put the eyes kind of at the front, - actually. - Right. - Uh, - right here, - Um, - at least my head. - So it actually looks are kind of giving this awkward look with eyes here, - but the mouth actually really extends all the way to the back. - So if it opens open, - kind of like like that way, - give it to spike. - It's kind like a porcupine. - Now, - you know that now that I cover him with spikes. - So right now you see, - the wing is is somewhat small compared Thio, - Thio, - others dragon. - Typical dragon. - So maybe as I'm designing this time, - imagine him. - He's has actually been ah, - you know, - on land this land dragon. - You know, - he's been evolved so that no, - he doesn't really necessary. - Seriously, - Like fly too much anymore. - He could probably not really fly at all. - But then, - you know, - instead, - his wing has become, - you know, - one of his ah, - weapon that he used to attack with. - So this is my actually, - it's more like a small like arm, - for example. - I'm just gonna extend right here, - so kind of give him this really sharp looking Ah, - ah, - Wing, - which doesn't look, - doesn't look long enough. - Teoh fly. - But with the Spike Spikey feature, - it will give it the personal look that it could actually attack with it. - So let's give it that are over, - General Shell. - So maybe the tail. - It's pretty shop as well. - You I was thinking of, - you know, - adding, - Ah, - some a lot of interesting detail to arm, - but then you're thinking about it. - We have a lot of details that at the top. - So let's give him ah, - you know, - a relatively smooth looking, - um lake. - So to kind of counter off the complex, - the textures at the top. - So these could be like spike type of for that just kind of come down, - but as it gets Ah, - Teoh to the bottom. - It actually is really, - really slick looking arm, - So not too much detail. - So maybe you could imagine him kind of like, - Ah, - and I'm just making up story as I go right now, - I'm gonna add a little bit of Finn t to the side of his face. - You know, - like a little fin here, - maybe a little bit fin coming down the bottom. - So maybe that's just a water dragon. - Now, - now that I think about it, - um, - you know, - he could kind of swim underwater. - And because of its, - like, - really slick body, - hey, - could probably spend go belief, - swim pretty fast. - So this is giving him some anatomy in the rib cage. - Act like just keep it a little weight. - So it's come Zuma a little bit for here. - I think you know it is having this quite interesting Look to this dragon right now and see - what I could Can ah deal with this a little bit more. - Skip Bowman, - I don't know. - That's giving well over the fin coming out the top since I kind of just you know, - I just decided to give him this. - Ah, - this Ah, - aquatic property of him being able to kind of swim. - So when he's, - like, - half in the water and half above you, - probably you'll probably see that if this is the water, - If there was the line of the water he's spending underneath, - you probably see the fin coming out and the spikes is coming up from the ground. - So in this, - and they will have this, - like, - really terrorizing like kind of incoming shark. - So this is the same thing. - The idea slowly getting oh, - but define. - And you can always, - you know, - zoom in and then work on a little bit more detail wherever you feel that it's needed. - Um, - just Oh, - and also I wanna mention this is that this method applies even to like, - ah, - it applies even Teoh what he called the specific area. - For example, - Right now I'm designing Dragon. - But if I really just zoom in and use a cell methods getting with it, - I could apply to just the head so I could do different silhouettes of the head. - Um, - you know, - and then just sketch on top of it to come out. - If you know, - all these different looking head. - So, - you know, - um, - I using generally these similar method for my design on brainstorming whenever I needed to - . - So the same same principle, - basic applies to to the to any parts, - even legs the wings. - You know, - you could create silhouettes and come come back with it. - So right now I'm just adding a little bit of texture for, - uh, - for the legs. - It was just so from here. - And I think I'm pretty much OK. - And I kept maybe at you know, - what has started. - A kind of might look Ooh, - I don't know if I'm starting to work in a little bit too much detail, - but then to give it that, - maybe so, - But to Ford, - just give it a horn. - I said he just feel like really giving him this a really sharp looking horn. - So this is the horn from the back, - you know, - just to kind of give it. - Ah, - this interesting looked for him, - has a horn. - So this all these will help the civil wet in general. - Of how? - How the dragons, - How this dragon is gonna look, - It's okay, - So here we go. - We have these two separate sketch for for these two dragons 9. Refining Sketch 3/3: - and, - you know, - this is, - um, - by this point, - you know, - you should probably design should be pretty much set, - set, - and again, - you know, - think about if if he supports, - still be a swamp storm dragon. - And, - like all these little minor factor, - you know, - of the ah of these dripping lab are dripping, - Ah, - dripping poison. - You know, - those could be done through these extra detail. - Maybe because he's dragon. - He you know, - he has these, - um What he called these kind of leaves dangling on him because he's from the swamps or he's - actually kind of really dirty. - So here he has these vines kind of just like on top of him, - and he's dripping in water, - and and then, - you know, - these things spice could actually have poison in it. - So depending on how the scenario that you're drawing for this dragon so the patterns off - his horn might be really like vibrant colors. - Looks like those Ah, - vibrant color frogs, - five in color, - amphibian that. - You know, - you could tell that is poisonous. - So this is the two sketches that we come about from here, - so hopefully you can kind of see how to refine um, - the silhouette into into this final final color peace. - Ah, - final sketch piece. - Let's take a look at you know what? - I other sketch I did for the other other silhouettes. - I didn't do all of them, - but then here we go. - I just did a bunch of silhouettes based on what I had, - so I'm just gonna turn, - turn to sketch on and off to kind of talk a little bit about, - um, - so here, - you know, - it's basically a general starting shape. - And what I did here is I created this kind of flying reptilian and again the face. - I kind of, - you know, - just try to play play around with it. - I don't follow exactly the face right here from silhouette and just use as a guideline, - I think the overall silhouette. - I thought it worked out really well. - Um, - you know, - right here it was ah was earlier. - Thumbnail, - I think the thumb there, - you know, - I had some interesting point. - I was playing with some of the spider legs and something I didn't really look. - Are that by his decided to, - you know, - work on the schedule was so I was just really skinny dragon. - You know, - with this really skinny tail to point us look, - almost look sick. - And then you have these I really thin, - I think the armed I decided to play around with your same same thing for Ah, - for this one. - Um, - for the civil wet, - you know, - it's drag. - And this one, - I stayed at a little bit closer to the original design. - Um, - so four for here, - you know, - same thing. - The legs. - I kind of play. - I kind of played around with the frog type feature. - You know, - if if I meant it for it, - more like a stronger dragon. - Like I could probably give the armor Lache a lot more muscular. - Look, - in terms of arm, - but because, - you know, - I meant for to become bony and, - you know, - same thing, - this tale. - You know, - when I was drawing it, - one of my focus for this tear was kind of out. - I was imagining that kind of a tadpole. - Ah, - you know what happened? - Had it basically look like this with this chaos. - So it just kind of again this kind of the frog idea the beginning just gave me a little bit - of direction of where to push this. - Ah, - gentle design. - And for this one, - So again. - So this was a civil wet. - You know, - I thought the, - uh you know, - this white line that I do here for the civil wet I didn't really have much purpose. - I was just adding a little bit of detail. - But it gave me the little idea of adding horn right here to the side of his head. - And, - you know, - like, - I broke the rules of having two wings, - and I just gave it four, - you know, - But overall still fit the fit, - the description, - and I didn't draw the back on, - but then this for this. - Ah, - dragon supposed I kind of made it to have six legs. - So this is 123 in the back. - I didn't really finish drawing the sketch, - so it has six legs, - so I think it worked out nicely. - Um, - also for here, - So let's see. - Oh, - here we go. - The the last sketch, - That right here. - So this was a more of a chunky type drag. - And I think it was similar to ah, - you know, - silhouette. - As you know, - this one that we did right here and here. - I went with a little bit of a different approach. - I cannot give him a little bit off more blocky head if you could, - kind of if you kind of look at this drag and it was more of our, - you know, - a NFIB ian type head. - And over here he has legs kind of point forward. - But here, - I gave him a really, - really thick beastie legs over. - It kind of looked like a rhino. - He's, - like, - cover in these rhino type armor. - These thes crust overall, - right? - Uh, - right here and everything. - General is really having this more powerful look, - an impact. - So I'm gonna make a copy of this and the reason I want to make a copy of this in just one - second. - I was gonna put it on top for now for this. - Ah, - for the fire. - Grab to sketch. - Ah, - what I want to talk about was using the same silhouette. - I took the time to create a second sketch based on using the same silhouette. - You see, - You know this over slow? - It's similar. - But then the design I did was actually, - um, - quite different. - Okay, - here, - guy put both of these in the drawing. - So you see, - right here at this, - generous in a way, - you know, - obviously the same. - But here I gave a lot more kind of fish like feature. - I can't want to play with us. - Our bottom jaw. - You know, - these little Finn type aspect and all these, - You know, - I think it makes a big difference to the, - um the overall look. - So ah, - what I'm trying to say is, - you know, - even with the same silhouette, - there's different approaches that you could do. - You could probably if you want, - you know, - pull off a lot of variation for this sketch using similar silhouette, - even this bottom dragon. - You know, - if someone of a similar silhouette, - but then it's still a different dragons, - and we're not even talking about colors right now because once we start, - you know, - a prop applying colors to these creatures, - it's gonna It's gonna give a totally different look depending of your color black or red or - green, - you know, - despotic colors. - So hopefully and you know, - this kind of give you Ah, - nice demonstration of Give me one second, - you know. - Ah, - Demonstration of how to approach. - Ah, - you know all these sketches and how Teoh just refine them. - You don't really have to do really clean sketches again. - Um, - is about brainstorming. - Stay really free. - Stay really relaxes, - you know, - let your ideas flow. - And even for the coloring when working approach next coloring, - I'm gonna do a relatively, - you know, - simple myth of color rings and just do enough to show what the point is. - And just to graft this, - you know, - wrap this constant peace up with the final step of color so fully. - I hope you enjoy this. - Um, - it's a little wet to sketch refining process and have fun with your concept design, - and I'll see you next class. 10. Coloring and Final Touches 1/2: - everybody. - Welcome back to the course. - Um, - in this lesson, - funny, - we could be dealing for a little bit of color. - Keep in mind that in this lesson, - we're not going to be dealing with, - like, - fully finished rendering of this illustration just because Constable ofttimes it revolves a - little bit more on the quick coloring just to kind of portrayed concept. - The importance of the coloring is actually to provide the theme, - the mood and a general tone of this monster. - Give it a little bit more life and just defining the colors, - You know, - the detail ing and the finishing touches. - You know, - every artist could do it a little bit differently, - and it really depends on how the tear you want to take this to fill its finish illustration - . - So for now, - we're gonna deal with a simple color. - So, - um, - for anyone that's kind of new to photo shop. - Ah, - this might be a little bit hard to follow in terms of what I'm exactly doing for the - culling. - But don't really worry too much about that, - because I just want to get the concept of applying of the importance of the color to the - concept but not really the technical aspect of photo shop, - you know, - digital coloring. - That will be something that publicly needs, - Ah, - totally different lesson that told a different course to really cover on digital painting - aspect. - So here ago, - we have the sketch. - And just to have really crash course and sketch, - basically have I have a sketch. - Layer this back and wait Leo on a multiply mood, - and I'm gonna layer underneath, - okay? - And what I'm doing right now I'm using using the lasso tool. - I'm just gonna crop out this, - not crop. - I'm just select this thesis dragon. - And this lesson, - I would just be dealing with this one dragon. - Ah, - for the cooling. - It's so right now, - the importance par. - This is just one of the method many, - many method of coloring. - I think there's, - ah more simple way the color there's more difficult way of calling. - But this is just one of my ah common, - uh, - meth. - It just doing really quick coloring for the sketches. - So you don't really have to be, - you know, - too. - Careful with the last soakers. - Um, - you said have two basic get the general shape correct, - and I should be fine. - I'm just creating the last. - So here, - here again, - since, - ah, - we're not dealing with, - you know, - finish illustration. - So I'm just gonna be pretty much a little bit rough with this lasso. - Really excited to see what What type of dragons that everybody will be during, - actually, - because, - you know, - these sketches that you saw me done, - your six or seven sketches, - they are, - You know, - they're really quick sketches. - Just, - you know, - for my imagination And just imagine everybody else's imagination and direction might be - totally different. - And it'll be really, - really interesting thing to see it. - A really wide range of, - you know, - all these different type of dragons toe almost done with the last. - So just the tail left. - So here we go. - I have the last so done, - and I'm gonna fill this with, - you know, - it doesn't matter what color I'm going to do it with. - I'm just gonna feel with you know, - uh, - color like this. - So because Ali on top is on a za multiply, - that's why the colors under That's where the line's gonna show through in the bottom So you - could press thing. - Sgi thats paint, - bucket, - fill. - I personally made a shortcut key are just to feel quickly. - But this basically Seimas using this paint bucket and clicking fill on onto this on the - selection. - Now, - from here, - I'm going to create layers on top. - And now I'm going to start to deal. - Argue with the general colors for this monster. - So for the bottom off the monster, - for example, - Um, - I'm really just playing with color usually, - and one little neat trick. - I just wanna teach everyone in case, - you know Ah, - and it was cures and using full shop when I create a new layer, - If I hold onto Ault and just put my mouse cursor between these two lay, - you see the icons become this to, - ah to circle what this does links the layer to the layer underneath. - So anything that you color on top would not exceed the boat border of whatever is in the - mitt on the bottom. - After anyone familiar with photo shop, - it's kind of like masking. - But then there's a little bit more versatile them, - asking where, - as you know, - you could keep changing the bottom shape and you're not really worry about the top. - So here I am, - I'm applying, - um, - the general color. - So I'm just thinking, - you know, - usually for Killian, - one of the most generic ah, - treat to the coloring is that it has these two tones or the bottom side would be a little - bit. - That would be a little bit of a separate tone. - So I think I'm doing something like this so I could push control you. - I'm gonna hue and saturation now, - I could just change around these, - Hugh. - Maybe something. - Ah, - there's something I want a little bit differently. - Um, - I could make it a little bit more green, - a little bit more blue, - but, - you know, - I think, - um, - I think I'm gonna stick with something a little bit more typical, - you know, - just a little bit more yellow. - Now, - I'm gonna just play around for a little bit different color, - you know, - keep I'm thinking, - you know, - this is a swamps swamp. - It's probably gonna be a little bit greenish bluish. - Let's just add some, - you know, - blue issue. - Ah, - to the general. - Ah, - topside. - So I'm just really feeling now with, - you know, - just really general color. - I kind of want to add some little bit of points, - Teoh to the color. - I want to give it a sense that this'll dangerous in and and and so I'm going to add a - little bit of red through some specific area, - maybe the the front and on the back. - You know how sometimes we caught those poisonous frogs that has is really saturated color - here and there on top of the body. - So this is kind of what I'm tryingto mimic right now at this point, - um, - in which had ad he's a patterned color to the to the body. - So God created early on top. - You just have a general sense. - I think it's fine, - like these spots, - and I think salamander. - I think that's what they sometimes have or basically the poisonous frogs. - So has these things you don't want to really go overboard with. - You know, - if these type of detail, - usually for each concept, - I tend to choose one point one specific a meeting point to really focus on in terms of the - in terms of the center of attention to here I am feeling a little bit of a colors for four - for the teeth, - and for this in a talk part of the mouth. - Maybe something a little bit like that. - And the sea. - Maybe I could just add a little bit of spot of colors for these horns. - Horn area. - The spikes might might be a little bit interesting. - What could maybe give it a little bit of red color? - Um, - not really sure. - Which one works, - but I think these red might Ah, - it might work pretty well. - And also, - um, - it really depends on each concept, - but you don't want to fill the colorful the dragon off a lot of different color. - And there's some concept that works with it and some that doesn't in general, - you know, - stick with us to the three main source of color. - Unless it was your intention to make it like a really, - you know, - multicolor drag. - And then, - you know, - then you could, - you know, - buy army and golf, - go for it and maybe add a little bit of just a little bit off pattern onto the back. - Just a little bit of red richness to it. - So, - in some way, - this is kind of I think, - this color to atone. - It kind of works a little bit. - S I'm just playing around, - you know, - different. - Ah, - little finishing touches for the colors. - So just maybe I want dark and feet a little bit on a dark and feet, - and I'm gonna switch to perhaps a little bit different brush. - And I'm gonna just add a little bit of, - like, - these leopard type pattern she lying line stripes. - Perhaps that's so another another just a little bit off, - you know, - little detail that you want Active dragon. - I think there's a lot of ways you could really play. - You know, - you could really play with this. - Was that the stripes? - And you could even provide a little bit of, - you know, - uh, - uh, - Wyke Way dish. - Colorful for the stripes as well. - Small type pad and gonna make a bit of difference in the final. - Ah, - in the final project of product. - So here we go. - We have the general, - um, - color set up 11. Coloring and Final Touches 2/2: - Now it's time to put in lighting If you know, - for lighting. - There's a lot of different ways again to Teoh to do to do lightings. - Ah, - you could set up a layer on top and she's multiply And I could just use a gray color and, - you know, - just render the shadow shadow underneath, - or or, - you know, - you could, - you know, - use the same method. - I'm gonna I'm gonna distract. - You should just do a little bit of cell shading. - So that's the thing associating. - It's basically still to say I'm just selecting these ah area where the shadow would be and - I'm feeling using pick, - but can just feeling with, - Ah, - with gray so on the multiply. - So the important part of lighting is to really give it, - you know, - phone. - You give this piece a little bit of volume and again this is dealing with a little bit more - of basic, - you know, - drawing fundamental, - which I hope everyone watching this video. - Well, - if you're finding yourself having a little bit hard time, - you know ah, - study from ah, - some of your life pictures of of objects and, - you know, - develop a good sense of lighting and rendering. - So here we go. - I'm just adding these lighting I'm filling in this gray again by using the shortcut that I - am creating off the fill function. - But again, - it's the same. - Was choosing the fill bucket and just filling for color of gray. - So for me, - I personally find, - um you know this associating with it Ah ah, - one of the really quick waste that I could really render up a picture of the importance of - any type of rendering whether associating with just normal rendering is the importance of - where you put the ah, - where you put the lighting it. - If you put the lighting at the wrong, - you know, - different place, - it's gonna affect how the monster looked like three dimensionally. - It might look a little bit flat. - My look, - the anatomy lab, - my local strange. - So here you go decide. - This wing is basically facing downwards, - So this bottom part of the whole wing in general is gonna be in shadow. - So, - you know, - I'm just selecting, - you know, - really roughly on on here and just feeling it so so you could see that because feel that - this wing is facing downwards and casting you know, - pretty big shadow into the body actually is gonna cover this feat. - Probably. - And so we have the general, - you know, - lighting set up. - And I could just work it a little bit with the slight details right here of you know, - the eyes. - I saw kids, - Some of the little small anatomy of the head, - some of these scale. - No, - Just because I'm doing associating method, - for example, - it doesn't really mean that I can't Ah, - I can't render it with other method for so I could I could even come back here well, - for brush. - And it's basically it's the same same same thing I could I could render you know, - these shadow using ah, - brush which could public give me a little bit off a little bit more finer detail. - There's not ah specific way to do it. - You could do off airbrush. - You could dio, - if anything And for anyone that's maybe working with traditional, - you know Ah, - coloring method. - So that could be something different as well, - depending on whatever you're most comfortable with. - The point of this you know of this isn't that you need to render really pretty Picture is - to set up your general concept of you know, - what is the color Is this monster or colors this beast? - So we're like around 15 team in video, - You see that this method, - you know, - for its generally complete in terms off coloring things dragon. - So I'm gonna just create a shadow on the ground. - I tend to do, - you know, - for every drawing I do attend to you always remember to, - you know, - create a shadow on the ground pushing. - I think a shadow is really important. - Let me blow this a little bit. - Gosh in blue, - Give me one second. - It's erase some parts here. - Ah was going to say I always feel shadow is really important for for drying just because it - really sets, - you know, - a ground plane to the to the peace you'll where the dragon is really standing. - You know, - you don't have to go, - you know, - to exact for example. - You know this wing, - obviously I think it's going to cast casts a big shadow into the ground which are in this - in this situation, - I'm basically missing. - I could just, - you know, - just rough, - something in really roughly the point is to just really set up the ground plane right here - . - I'm just setting up a general. - General Shadow wanted to feel like it is being eyes on the ground. - So we just sat at this point, - it's gonna remove this silhouette layer because of school was casting little bit off grey. - So for the final, - you know, - little touches for this drawing that we could give Ah, - at the beginning that, - you know, - I want him to be spitting out. - You know, - these little poisons. - So I'm gonna just make a layer on top and let's just create a little bit of, - um, - poison coming out. - So let me see. - I could do a color dodge layer. - I don't know if a greens gonna work now, - see overlay. - So basically thes thes green, - poisonous, - dripping out from from his mouth. - Went here and just creating another layer mindset. - Overly. - I'm just going to give this dragon over or a little bit off. - Just a little bit of highlight. - It's a little bit here and there, - for the highlight is to wrap it up. - I see. - Maybe the eyes could be white as well, - and we just put that above. - Here we go Okay, - so I think you know, - Overall. - Ah, - you know, - I think overall this is Ah, - this is working nicely. - Me? - Let me just give a little bit of final touches. - I'm gonna add a little bit. - Mawr highlight to to this picture add a little bit of ah, - rim light to the picture. - See? - Use really deeded. - Sometimes you don't really need some of these. - Almost done right here. - Here we go. - So I I just add a little bit of highly to the top. - It's because I thought it would It would help pop out that overall, - you know, - mood. - Ah, - little bit more. - And I'm just tweak the source that really the final step. - I'm just gonna tweak the colors and general a little bit with with a little bit of color - overlay at the top just to give a little bit of vibrance to the colors. - Have a little bit of tweak like that. - So here we go. - We're basically, - um you know, - we're pretty much done with the stricken, - and you could see how you know it. - The coloring itself was pretty simple. - Um, - it the culling technique itself. - I think it's going to take a little bit of time for anyone. - That's pretty new to photo shop. - They were to coloring in general. - But then the whole point here was to kind of show, - um, - the whole ah concept in process of creating this dragon. - So here we go. - We have this dragon pretty much color now. - I took the time again, - like the previous assignment, - to just make a copy of this. - It was time to color the rest of the dragons a little bit, - so I could just, - you know, - let let everyone see. - You know how the various concept that could be done by just creating the dragon. - So these are things that I took a little bit probably a little bit faster time compared to - you know, - to what I just did. - What? - Here. - So this is what we had for the first dragon. - And so here, - You know, - I'm just setting up colors over generally kind of like a white ish dragon. - And I think for all these on them about to show you, - I could probably push a little bit more in terms of little detail. - But it's just an example. - So this was what the spiky dragon that we did last class, - I decided to come in, - give attack kind like a fish like look, - the Philip bottom. - And so the top is actually about the story kind of idea behind it is that the top look like - he's kind of bushes in the swamplands or kind of camouflage into the background. - Now it's for this one again is a really simple are just, - you know, - green Ah, - green dragon that I just did as a concept as well. - And for this one, - this one, - my idea behind it for the color was that again was like those poisonous frogs are. - So I had a little bit breakfast where the poisonous far good used these really bright ish - purple look. - And again it was, - ah, - simple color test. - Now this was Ah, - this was the kind of again a comma camouflage. - So he's gonna look at these rockets modish color that the cycle for that dragon. - So this one is a really typical lizard type type of color rendering. - So all these, - you know, - I either to spent a little bit of time to just kind of show you the possibility of, - you know, - just really house this'll simple coloring could work. - And of course, - you know, - I think you know, - from the what we just did previously adding these small details and color variation and - just these little spikes and all these is gonna help you help you make your monster a lot - more interesting. - So hopefully, - after seeing this whole general process, - it help. - You can't really understand the general idea behind coming up with ah, - with a with a concept, - every concept, - you know it again. - It's a little bit different. - But just to recap on what we learned from this course, - you basically before you put you start to move your pen or or anything, - you know, - just start by using your imagination. - Just think about you know what direction you want to head in. - Just, - you know, - go let your thoughts go wild and you could jot them down and even more so you know, - when you're jotting them down, - you could jot down related topics. - But to become a good concept, - artists create artists other than you know, - having a vivid imagination When Mitch you your imaginations good, - even better is study everything around you. - And that's not I'm not talking about, - you know, - just taking one day to study, - But be observe a tive in everyday life. - You know, - Just look at books. - You know, - everything you are looking at, - You know, - just try to just try to think you're a little bit more about things that you're looking at - , - so that when you need to pull them off from your live in your head, - you're you have a lot of vivid ideas, - Teoh to learn to choose from. - So again the process. - You know, - start by brainstorming, - charting ideas down, - and then we finding your ideas a little bit more. - So it's not everywhere, - so sell a bit more organized. - Then you start to play around silhouette, - shapes and forms. - And once you again, - never limit yourself. - Ah, - while you're doing so like oh, - really crazy random shape and just try to find interesting shapes within the shapes. - And then after that, - you would. - The next step was obviously doing the sketch and having a good sense of anatomy sketching - skill is definitely gonna help you visualize the product that you have in your head. - The stronger your joining skewers, - the more accurate it is gonna be From what you imagine and after the sketch and play around - with various design that you don't have to. - You know, - you could come off various design from the same silhouette, - and after that it's basic exploration of colors. - You know that everything could be playoff around a lot of different color justice, - for example, - have this late. - I'm going Just pull the hue and saturation menu. - Despite a changing this around, - you know that you're visualizing a lot of different dragons. - So if this was supposed to be like ice drag instead of a poisons drag, - I'll probably go something a little bit more. - You know of a tone like this, - where's on DSO? - Yes, - sir. - There's a lot of different colors you could play with, - so that's pretty much it for how to concept a dragon. - And I hope that everyone is able to learn a bit of new trick or just have a little bit of - more better understanding of Ah ha, - what one of the method to approach concept ng work and again, - thanks so much for taking time to check out this video. - And I hope I was helpful and I'll see everyone around