Concept Art: Creature Design Workflow | Andrew Hou | Skillshare

Concept Art: Creature Design Workflow

Andrew Hou, Concept Artist and Illustrator

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11 Lessons (2h)
    • 1. Introduction

      3:26
    • 2. Keywords

      12:24
    • 3. Photoshop Crash Course

      11:31
    • 4. Silhouette Thumbnail 1/3

      8:42
    • 5. Silhouette Thumbnail 2/3

      8:33
    • 6. Silhouette Thumbnail 3/3

      15:09
    • 7. Refining Sketch 1/3

      15:11
    • 8. Refining Sketch 2/3

      11:11
    • 9. Refining Sketch 3/3

      7:52
    • 10. Coloring and Final Touches 1/2

      10:35
    • 11. Coloring and Final Touches 2/2

      16:22

About This Class

Welcome to my Skillshare class! I have been an concept artist and character designer for years, and I am going to share with you my process on concepting a creature silhouette and sketch.

The course will focus on the workflow of creature concept design, starting out with a topic, to brainstorming and sketching and refining it to a final solid concept.

This class is great for someone passionate about art, and who wants to refine their style and learn a solid foundation on which to build and design your creature.

What You'll Learn

Students will learn the brainstorming and concepting process of designing a creature. The class will cover brainstorming, proper work flow, and how to streamline from your topic or idea into a final concept design.

  • Brainstorming. This often occurs even before you lift your pencil or tablet pen to draw!
  • Creating Silhouettes & Shapes. Working with various silhouettes to come up with your creature's shape.
  • Sketching. Exploring various details within your sketch and techniques on merging your silhouette with your sketch
  • Refining Your Character. Playing around with simple colors to complete your rough concept

What You'll Do

You will use my unique workflow technique to design a unique creature. I will be demonstrating my concept flow by designing a creature, but I encourage you to create whatever you want!

This work can be done with natural media or digital media- whichever you prefer. It is important to learn basic, foundational concepting skills before you pursure your full character set. You will find this class helpful in making your creation and workflow process more efficient in creature design.

Transcripts

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