Drawing Characters: developing your approach, process and style | Donny Yi George | Skillshare

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Drawing Characters: developing your approach, process and style

teacher avatar Donny Yi George, artist, musician, designer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

11 Lessons (1h 23m)
    • 1. Intro

    • 2. Getting Started

    • 3. Refining

    • 4. Final Drawing

    • 5. Tone and Color

    • 6. Feet Shadows

    • 7. Analysis

    • 8. Soft Shadows and Outline

    • 9. Bonus: More Characters

    • 10. Project

    • 11. Outro

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About This Class

In this class, I encourage you to draw your own characters by describing my approach and discussing drawing characters, figure drawing and how to develop your own style as an artist.

Meet Your Teacher

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Donny Yi George

artist, musician, designer


Hi, I'm Donny.

Hope everyone is doing good.

Otherwise, I like to make art, comics, design and music. I have a masters degree in Illustration and studied mixing / mastering at Dubspot electronic music school. I've been making comics, zines and been involved in the underground music scene for almost 20 years now too.

I also worked professionally for many years as a graphic designer / artist mostly at newspapers, including the Wall St. Journal. 

I have three classes so far: one on character design and two on music production, and am working on more.

I love being creative and making stuff. I love people. I love learning.


my art




my music

... See full profile

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1. Intro: Hi, My name is Donny George and welcome to my class drawing characters. I love drawing characters, and perhaps you do, too. Maybe you just want to try it out for fun. In this class, I'm going to encourage you to create your own characters by discussing my process and also talking about drawing characters in general, drawing the figure and developing as an artist. So a little bit about me. I've been drawing character since I was a little kid. I went to college for our and I have a master's degree In illustration. I've sold and exhibited my original art, and I've been self publishing comics for many years using my own characters and also recently, I've been developing beer games. Use my own characters. I believe very much in the deal. Why ethic? They should just make stuff and call bullshit. And who cares what people think but also value professionalism and professional experience . This class is something for the Jenners and more advanced artist to grab your pencil or your stylist or whatever you like to draw with and let's get started 2. Getting Started: All right, so let's get started. So I start with the wire frame of the figure, and just to keep it simple, uh, you know, put in the head, body, arms, legs, couple lines. And this is just to get a sense of proportion and how it's gonna fit on the page. You know, you don't want it to be justice. They head that takes up half the Basia. I'm going for a full body here. And after that, I'm starting to him in here with the head. Uh, do the face detail. It started. And what I did was I, uh I sent the wire frame layer to the back and I made a new layer, and I made the wife rain layer a little bit lighter now working digitally and clip studio. But this process could be used in any drawing program such as Photoshopped create O R. Whatever you'd like to use. You know, if you do it on the iPad. Same thing and I'm doing some size grudges to kind of go into more detail about what I'm doing with the character drawing. And here I'm drawing face. You know, it's ah a lot of different ways to draw faces and heads easy. Start with oval. And then I put a midline and some people do, ah, oval for the face. And then do the head case in the back. Um, yes. They don't want to forget that the shape of the head is like that. You have the front, and then you have, like, a back portion with brain cases. And when I drop torso, I do the same thing almost as when I draw the head. I draw the center line and kind of build out from there. Now the shapes I'm drawing. Okay, well, here's a ah rib cage and, you know, draw the sternum, the clavicles and the neck and then have the spine in the back obliques and go in a line and you have pictorials and shoulders and arms. Come back next, hit on. And this is all a sort of like underneath when I'm drawing characters. It's almost ah, second nature instinctual at this point, and if you want, you know you can. You can include a whole figure underneath and, you know, draw the clothing and the variations on top of that. Sometimes I do that, and they do a lot of characters. I and they do their especially in fashion design. Sometimes, though, I like to just, uh, draw the figure and the character as one thing you know, because the body and the character or kind of, ah, part of the design you know, the anatomy, portions of the figure and how interacts with the clothing or the armor. The cost of it all kind of goes together as opposed to just drawing a figure and then, you know, putting different clothes on there. It is another approach. You know, there's different ways to approach to in character design and different ways to approach doing trying figures, and a big point of my class is that you can do whatever you want. You know you to find your own style, and you're on technique. But it's good to learn from other other people. In other people's techniques. You may discover new ways to do things you can incorporate into your own workflow. And for me I like to draw the sort of like loopy organic lines because, uh, the body is in a really organic. So sometimes I draw the figures a little too thin or after I draw them, I want to make them a little wider. So when hadn't stretched him out and that's it for getting started and I turn off the back layer. 3. Refining: so drawing characters from a is an intuitive process. Make a new layer over the old woman and that, like the old there, clip studio has a nice feature that you can turn the layer to light blue, which is Teoh. Replicate the real growth process of using a nonvoting blue pencil, and it's really convenient. But you can do the same thing, and most other programs, you know, just set up in action and photo shop for maybe even I don't know. They may be even have the Futurity bills and not some programs. But the pen and paper for a pencil and paper can use ah, tracing paper. Or use a light table and a new sheeted paper. Or just, you know, depending how dark you draw. Just stick another sheet of paper over top of it and start redrawing it. So on the new layer, I'm going over the previous drawing, and what I'm doing is I'm adding detail and adding definition, but trying to not lose the freshness of the first drawing, trying to keep the overall shapes and the idea because you know, when your first drawing it's it's really lose, and it was cool and it's a lot of energy to it. You don't want to lose energy when you're refining it. It's a hard thing. You know, sometimes you see some really, really great sketches by people, and then there the finish, our work most kind of stiff. And I don't think you want to do that. I think it's good to keep keep their freshness. You know, it's hard to do there. Maybe, you know, as I get better my first sketch really good enough. But for right now, I usually need to redraw the original often several times, because I don't really know what I'm drawing at first, I'm making this up as I go, and so I'm putting in shapes and I'm creating as I go. So as I do these iterations, I'm actually creating forms that weren't there in the previous iterations. So, for example, you know I'm segmenting this armor, which I hadn't done the first drawing. It was all, you know, more figurative before. Imagine these little accents, these little kind of spikes on the armor, putting a little more detail into the hands and fingers as you draw. I suggest taking Teoh things you like and are familiar with. So for me, like armor and nights and fantasy So this sort of thing, the care just tends to come out when I draw. And I really didn't even think about it before I started drawing. I didn't have any sort of plan of what I was gonna dio. I just sort of went with it and sort of turn my brain off and started drawing and this nice to see what comes out. What kind of find out what you're into, what you're interested in. Or maybe you know what you've been thinking about or looking at. I do like I do like Fanis Yard, and I do like armor. Um, I have, ah, nice collection, off reference photos and books about arms and armor. When I go to the Metropolitan Museum, I definitely check out the arms and armor collection there, and all that's gonna come out and drawing all the things that you're into, the things that you've ah copied or drawn before things you like to look at. You know the things you have reference for, they're all going to come out, and that's good. That's what you're into and destroying this class is about, you know, finding yourself also as you draw these characters. These characters are about people and you're a person, so you know, it's about you also. So draw what you're into. Let's go for it. But also, don't be afraid to experiment and try new things. Don't be afraid to learn and be bad Something as you learn it. You know, when you try to draw on a subject, gonna be is gonna look awkward first. But as you draw it more and more, you're gonna get more familiar with it. It's gonna start to look natural, quote unquote Everything natural and first is that so. Here are continuing. Teoh, find the figure. I think I'm more or less happy with it. You know, it's good to do to back up and have ah, look at the entire figure sometimes and like Ah, when I was drawn the anatomy, the same thing goes for armor. It's good to copy. Good to Ah, look around. So when you sit down to draw it all sort of comes out and you can also, you know, look at reference. Sometimes I can slow you down a little bit, but you know whatever works for you. So here I thought the character needed a wet man or sword. So I need to redraw the arm because it's not. And the wasn't in the right position for me to put a sword into it. Kind of go over it. Fiddle with a little bit. Redraw the arm, put in the sword, try redrawing on another layer and you know you want to do the figure over us. You have space for the sword in a miller cover over the old arm for the second arm I drew and add a layer. Put some weight on it. So I'm going to see a little clear. So don't be afraid, Teoh. Go and fix certain parts or change. Just, you know, parts of a dry while you keep the rest of it the same, especially digitally. I mean, the same thing goes for for you know, if you're doing a little getting to if you don't like apart, just paint over it. And this is actually by a good good time for you to look at reference. Pron eyes extra out. Something goes for me. I try to imagine and draw the forums and three dimensions, and you can get that correct. Then you can draw it a lot easier cause you understand where the shapes go and how they how they work in space. 4. Final Drawing: All right, so we're on to the final drawing. So now want to refine that arm sword? It's ah, use the same process or drawing onto a new layer and refining it just, you know, specifically on the arm and sword. So so, like the army's sword. Put it on a new lier turn of blue, drop the opacity and redraw the whole thing again. Well, some people may be able Teoh get her drawing just right the first time out. And sometimes I do, too. But don't be afraid to keep redrawing and refining. If you're making this up as you go, and if we're being creative, it's hard to know exactly what you're drawing, especially the details, because by definition you're creating something new. So you know, you can start kind of vague in general. And then as you draw and as you redraw Aiken, go into more detail and you can change the farms. You notice. Ah, I'm giving the sword. This sort of like a T shaped, and it's to mimic the the sort of wedge shape that's also in the armor, and that's a part of ah, rhythm and drawing. It's ah, repetition of of themes or motifs or shapes. And it's good to do because they unifies your unifies, your drawing. And I also like I said, it gives it rhythm, which is, you know, repetition, repetition of variation, just like ah, rhythm in a in a song, you know, you have a steady beat or you have ah, you know, certain things that repeat. And then, you know, sometimes a variation on their repetition to give it interests. Who's drawing is, ah, back and forth process. For me, it's an interaction because, ah, I don't know if you think about it like who's actually drawing? This is all recorded in real time and drawn in real time, and sometimes I draw faster than I could consciously think about what I'm drawing. So is largely, you know, your instinct. That's drawing. And where does your instant come from? Whereas the subconscious come from, Um, especially one is expressed in your drawings. You know, it's ah, it's a whole nother topic. Maybe another class I think a lot of it has to do with have it. You know what you used to drawing? What do you draw a lot? What do you look at? What do you have reference for? What are you interested in? You all come out in your drawing when you're drawing freely when you have, you know, a specific client for a specific project that someone else wants you to draw. Well, you know, it's kind of different. That's Ah, you know their idea and you're working with their idea, and you're gonna express yourself to certain extent, but you're really working with their idea. This class is more about you drawing the sort of characters that you want to draw. And so it's an expression of your drawing habits, your personality, your instincts as an artist, as a character's honor. Maybe you're into sports. Or maybe you're more into science fiction. Or you draw, um, pop stars, courage or fashion models. You know, throw whatever you want or whatever you're interested in, and think about it afterwards. And also, I guess when you're drawing it, you know, you know, if your if you're not satisfied with what you're drawing, then make a conscious effort to look at different things. Teoh copy different things to study different things, and then when it comes time to draw, it'll come out in your and you're drawing. You know, it's kind of like sports. It's on practice is really important and it comes out in game time. So this is sort of like game time right now. Says you performing when you're drawing this character here or when I'm drawing this character. But all the real work has been done, you know, behind the scenes, Steve, you know, the practicing, the copying, the looking at the studying, you know, doing anatomy studies, doing a costume, studies studying other artists. And this is just my technique. Also, in just my philosophy, you you can definitely have your own philosophy what we do. And, you know, every artist has their their their own approach in their on philosophy about drawing. Some people are more delivery about their drawing, then maybe know exactly what they're gonna draw before they draw. They visualize it in their head. For me, though, it's ah, I I need Teoh start putting lines lines on on paper. I need to start dry and he Teoh, you know, work from my subconscious and then react to that and then shape that and sometimes you may . You may not like what you see in your subconscious and there's something to think about. You know, maybe you need Teoh to make changes in your life and your subconscious and the things you think about. And sometimes you may be really surprised with yourself, you know, really happy with what you what you dio and what you see when you draw. It's almost like a different person within yourself. You know, draws a lot about learning about yourself and get in touch with with who you are. You know, turning off that rash on the part of your brain and just drawing and seeing what what happened. So something ah, technical I want to note here is that I'm working in a monochrome mode in Clips studio. And what that is is Ah, equivalents of bid map mode and Photoshopped. And what that means is, there's ah, no anti alias sing. There's no shades of gray used to render the lines digitally, so this is really useful further down the line because you get cleaner selections and fills and generally the foul size or smaller. So now of ah, put in the figure. For the most part, I refined the figure. You know, this is ah scuttle the details I want, you know, you can go in and keep touching things up. For the most part, this is Ah, you know, this is gonna be the final piece. And after I put in that final drawing, I usually like to go in with a heavier line to give it a little more substance. And while you're doing this heavier line, you also want to treat closed spaces by closing any gaps in the drawing. Because in the future, I'm gonna using the paint bucket and the magic wand tool to fill areas and make selections . So to make that easier, you you don't wanna have any ah, broken shapes. And when I was drawing in, the there were finding stage. I tend to use ah, really choppy line. And that leaves a lot of empty spaces that I need to make sure I go fill in on this on this area just got like a dual purpose. Is this part of the process? It's, you know, to give the drawing a little more definition and wait, but it's also to fill in shapes so I can make selections easier. And the next stages yeah, on the subject of ah, broken lines. Some people can do like a really long perfect lines. And, you know, you can turn your page around so it goes with the angle of your stroke so you can get these nice, perfect lines for me personally. Ah, I don't really like that too much. Norway too. Bothered by it, I kind of like the sketching and so, like the choppiness of it, it gives a little sort of grit character I really like, But, you know, it's up to you whatever style you like. You know, do whatever do whatever you were works for you and do whatever the you you think looks good to you. And then again, you know, also try different styles and see how they feel, you know? So that's an interesting idea. You know why? Why, exactly? Do is drawing in a certain way make you feel a certain way. What do you like you like? And what? Why do you not like what you like? This? Ah, French sociologist Pierre Bourdieu. And there's a lot of interesting theories about it being related to sort of, ah, issues of tastes and class and also sort of political leanings in the in this fear of art. But also, you know, you're your socioeconomic status in the larger world. It's interesting theory here. I'm going through and, uh, cleaning up some of these straight lines refining these Helling, This, uh, processes really boring to me, actually, and really time consuming. At some point, I'd like to be able Teoh, skip this whole process. It's like this refining part of it, you know, For me, though, that much fun is the first part and maybe a little bit the second part. Once I have the full drawing and it's it's ah, I don't know, it's not so much fun anymore. It's a little less creative, you know, or is creative and one of, ah, strictly technical sense when you're not, you know, you're creating details in the drawing and I creating form and ideas as much You're not creating a big forms. I mean what you're doing withdrawing essentially is creating for him. You're rendering form. There wasn't there before through your line work, but generally it is This part is not very fun for me. So maybe in the future on and hopefully I can find a way to just skip this part, you know, or just just skip it altogether. I don't know, but this is where I'm at right now. This is a very sort of ah, in a commercial way to to make to make our, you know, you end up with a finished piece right here because you have these, you know, readable lines. And that's a large part of why you add these every line just so you cannot see him read a little better. So the forms are a little more instincts on the final drawing. You know, it also makes it to figure, and the silhouettes stand out a little more and you're not only just creating a heavier outline, your also indicating shadow to a certain extent in certain areas will do that a little more in, ah, different steps. And this is just, you know, one process. This is not necessarily a process I use all the time. And I'm a change in the future. But it's ah, it's a fairly straightforward process and you end up with the, you know, a finished project, this part of process also, it slows down a lot for me to I think this media is voice as long as the first initial drawing and drawing, you know, a lot slower. If you go back and watch the first video, it seems like I'm drawing pretty fast. And ah, yes, I am. And it's all in real time. All these readers, your in real time. But, you know, that's just the nature of the process, I guess so. Refining the sword a little more, you know, if you want to get it nice and clean and you can use ah started using vectors, he's rulers. Some guidelines for now, I'm just, you know, roughing in the shape. It's gonna be OK for this for now. Going and erasing. Yeah, Like I said, this part's kind of born I don't know. I don't like it. I wish I could Ah, fast for this in real life. But, you know, some people may really like this part. I think this is ah, where you get a really nice finish product. You know, a lot of polish into our work at this days. For me personally, I like the initial creation part, the rough sketching. And like I said, you're always a good way to find out about what you are, what you're into. But, you know, just like life in general, you don't have to get stuck in tow if you don't want. 5. Tone and Color: Okay, here we are going to part for its gonna be tone and color. But before that, I need to make some minor adjustments to drawing. I'm gonna separate the back of his armor. The back plates from his torso Gonna add some shadows in there. Oh, and I need to adjust his head. I do this a lot, actually. Tend, Teoh put the head a little bit to four. Looks a little awkward, so I'm gonna pull the head back a little bit. So left it and just move it back. And you can do is much refining as you would like. United can make it photo realistic. It's all it really is. Just, ah, a matter of going in and refining and refining, adding more detail and fixing things. Maybe. Sometimes you take out detail, but it's a matter of just working and working on How much work do you want to put into it? Um, going in, adding some little shadows underneath the hatching. But I am pretty quickly. It looks like it's enough for now. So I'm gonna use the magic wand and Makesem selections. So, first of all, I want toe merge. There's layers of drawings of head. They had different things on different layers, an ominous select outside the figure, and then you want toe. Select also any additional shapes inside the figure. You'll notice I forgot the shape in his hand. We shall have to deal with later. But it's not the end of the world. Just Ah, make that selection make a new layer and then you want to reverse the selection so selects inside the figure and then add a layer mask. And I like to duplicate that layer, so I have, ah, extra copy of it. Switch it to multiply mode, pick a bigger brush. It's okay, Teoh. Take your time figuring the head out and then start putting into Grix. I'm putting about some mid tone switch from monochrome to gray scale for that level, and what I do is I just feel the whole layer. Since I have the layer mask, it'll just turn the figure gray. And here I'm not dressed in color was a little bit too dark before. I want to make alluded lighter because he's wearing armor pretty much over his entire body . Some guys will make the whole thing gray. So what? I'm gonna do now is just draw and write for the face area. That's pretty much the only part of the figure. It's not in armor, and what I'm doing is I'm drawing with, ah, with white color on the same layer that I had the gray. It's definitely different ways you could do this. You cannot work on the layer mask. Um, it raised parts of Larry Master. Add to the layer mask what is draw on the layer itself, which I'm doing. No, I'll go in here and ah, I noticed that section inside the hand that I forgot to mask out, and I'm trying to feel it, and it's not working, and what I really need to do is just erase it. So I select that a layer mask layer and to see race to lead it. And there we go. So now I have a nice mask and the mask in as it helps you stay within the lines. You don't have to worry about drawing outside the figure color outside the figure, and it's really nice because, you know, I fill that hole that whole shape with just one button press for a couple of button presses saves you a lot of time using layer masks. That's another interesting thing, too, about your processes. For example, I really like Ah, manga and ah hell, eight black and white comics, too. So I tend to do a lot of work in black and white and gray like like manga. And I'm also using Clips Studio, which is designed for making comics and longer if you're and Photoshopped D sort of processes are not as easy to do. I mean, you can still do it. But this program is Stephanie designs to work in this method so your materials really matter. They don't matter as much as you as an artist, but they do. They will shape how your work comes out Now. Here I'm putting in some highlights on this armor. Some ah light reflections. I feel like it gives it a lot of a lot of life and imagining Ah, light is coming from the front. Maybe a little bit above a little bit. To the left legs are ah, Leo a whole nother topic in itself. But you know you want Imagine that this is ah, real person and it has some sort of lighting and this is Ah, this is more like a studio sort of shouting. Ashley, this is like, uh, you know, you have this this night, this warrior and your studio, and you're taking a photograph and you have, ah, photographic lighting set up. You know, sometimes you may want to use ah, natural lighting. Been watching a lot of Martin Scorsese and reading a lot of George Lucas. And it's really interesting that their whole approach to lighting and how it Ah, I was sort of revolutionized Hollywood, you know, before then they had motion pictures that were made in studios includes lots, and they used ah, studio lighting, you know, artificial lighting. And so it had, like, a very different quality. And then, you know, you have this sort of these new wave directors and they start using natural lighting and you have these different shadows, and it gives a, you know, a whole different character. So something Think about when you're you're doing these drawings. You're not only drawing creating form, but you're also creating lighting. You know, you're like the lighting director and the Senate photographer and the character designer, all in the same sort of setting maybe more like a photographer. You know, you're like you're like a designer and a photographer. You know, photographers think a lot about lighting. What kind of lights? Um, where you're placing them, where the shadows we're gonna be. So if I were to really analyze the lighting of this would be here is a lot of ambient lighting. You know, there's not a lot of heavy shadows. There are shadows underneath, so there's, you know, lighting from above. And then there's these highlights on the kind of on the front of the figure. So there's some kind of light coming from the front officer. So you know, one of the other things to think about In addition to the figure in the Forum and the town , it's alighting, and I'm getting into color. So I need to make a color layer I'm using, Ah, one of those copies of the later mascot made before I'm really into, uh, non natural colors for right now. So I don't really feel tired, Teoh having to make this realistic, cause I think I can be a little bit less creative, at least for me. You know, this isn't the 15 or 16 hundreds we're living in, You know, the year 2019 and our taste and colors of chains are color palettes of change and say, I want to reflect ah, contemporary sensibility even in this sort of like fantasy and medieval character for some people that really answer realism, which is totally fine, you know, you can find reference, find out what sort of colors that armor was back in the day. Even then, you'll you'll find a lot of variation, creativity. And so I have this sort of like, purplish color and I'm going into its skin now on the same ah, same layer as is has his armor and enforce any of the we'll paint won't work on top of whatever color had before us. We're gonna go back to the pen tool and pick a bigger brush. And these were all flat colors. If you wanted, you could go in a model. It, um, and different colors and a graze and different tons. But I'm just gonna keep it flat like this light blue. And just to make things even quicker, go ahead and use the paintbrush or the paint bucket tool. And since we did all that were closing in the shapes. Paint bucket doesn't go all over the place and saves us a little time. Colors are another thing that are a reflection of your personality, you know, what kind of colors are you into? What does that say about you? Was to say about what you're into, You know, it's Ah, it's a whole nother topic would be nice to get a psychologist in here toe to analyze it for me. I just try to make colors. I feel I feel contemporary. I feel kind of new going in and turning the sword gray because it should be, you know, like metal and not necessarily a colored medal. I guess you could have colored medal, but it also gives a little bit of distinction from his armor color. So whole nother topic right there. I'm a big fan of any Warhol feel like you had a really great amazing sense from color and this me bringing in, ah, various influences into my character design work, and it's cool. You should have different influences gonna make, you know, make your characters more interesting, more creative, you know, have more fun to, and you will be happier with it because you would be incorporating your whole your whole self into your and cigar work. 6. Feet Shadows: So this is gonna be, ah, relatively short video, but super, super important, really critical in proportion to how long and how much effort this takes its putting shadows on the ground to see his little shadows under the feet to ground. Your figure gives it so much more sense of believability in reality. Just these little shadows underneath and you can make them bigger If you want. Depending on, you know, your lighting set up. But at least you know, put some shadows under the feet. Damn. Look at that. I was just floating before. Now he's really standing there. Gives him a lot of presence. 7. Analysis: So now that we're gonna do a little bit of, ah analysis of what we have done up to this stage and here you can see flipping back through the different layers. And here's the wire frame. Very well. First wife friendly started from, and I'm going to redraw the figure her at the head. So you know, I have this midline and this order vertical and horizontal midline. What that does it helps me determine the direction of the face. Which way are they looking? And I think it is. You can see just from that little bit these three lines basically oval. The center vertical line in the centre horizontal lot was direction, the faces and that becomes a scaffold to put on the rest of the features. Cause it knows, is basically on that center vertical line. The eyes are on that center horizontal line. The mouth is below the nose, and then the rest of the head feels up that years also too many on the the angle on that center line. Also. Now, I don't particularly use any specific formula consciously when I draw heads and faces. But I think if you threw analyzer, you can see that there is a sort of method to drive, like when I draw, I just sort of draw. I don't really think about it too much, but there is definitely the to mid lines and then the eyes from the horizontal. There's a little triangle goes onto the news and then below. That's a mouth, then a little outside of that. Connect to the mouth is the so the jaw and cheeks. Hello, area the forehead and you have the ears. It's good to have some sort of method to draw heads, especially in in three D space, so you can kind of turn the head around, and here I'm showing the heights. This is a way to measure sort of proportions. Of the figure portion of the heads is Ah, the figure is about six heads high. Think typically superheroes or, like ah, seven or eight heads a little bit taller. You know, fashion figure is it could be like nine or 10 or more. Heads has toll. Six is, ah, almost cartoonish. I think it's maybe someone close to reality, and then you notice that the ah, the hips and the legs air about at the middle 0.3 heads up from the bottom. You never were. Look at the original rough sketch. It is probably my favorite part of the process. And to sort of recreate that and there's no real tricks to this. I mean, I guess you can follow the sort of construction I made. I studied various ways to construct heads. There's, you know, every artist has zero in sort of way to construct heads. Certainly proportions air the same. No matter what, because you're all working from reality Can Human heads are somewhat, you know, proportionally the same in here. I'm ah, showing the forms off the body through all these being ovals. Some people use more geometric shapes, like, uh, lines and square is in blocks for me. Uh, like these ovals I used to study computer graphics and in college. And ah, I really liked using spines as opposed to polygons. I think I did a lot of work with spines, and it really influenced my work. Oh, plus my drawing. Unless you know another way, the rest of your life influences your artwork. So I draw these. You know, these big, big spheres and cylinders that connect to each other. It's important to simplify simplify farms so you can so you can put them down quicker, and then you can go in and add realistic detail later. But here I just having a thespian clumps big clumps of, ah, spheres that represent sort of muscle groups, have these two big spheres of the pectorals and then the rib cage, abdominals, obliques and sort of build up the figure. That way, he has also good to look at toys and models, and figure drawing is really important to the thing with figured. Wrong it's, Do you get a really good sense of of reality, of how a really figure moves and you know how weight is distributed. The only problem with that is you don't always get a sense of the underlying structure. You know, that was a difference. Ah, between the Northern rather renaissance and this other renaissance. Is that so, Then renaissance? They were really concerned with the underlying structure and form. Where I see Northern Renaissance is very concerned with outward appearances and both there are valid approaches. For me, it's important Teoh understand underlying structure because I work a lot from my imagination, so I want to be able to create, create forms and move them around in space from my imagination, as opposed to necessarily happen to work from reference. And you can see how composed a hand that construct the hand with all these. Ah, these little beings, the ovals and spheres shapes each little leg being as sort of like a little joint, a little section of the hands. You know, you have the Filan's broken up into the three parts and each flanges Ah, different little being. And that's basically how I make up the whole, the whole figure, for the most part, this little shaped beans and still under cylinders air kind of like the bones. And then as you get more familiar with the figure, you know through a study and practice to start to, you know, add little nuances to these beings, you know, had little differences in shapes to get them a little more realistic or use a stylized, and this again is all drawn to real time. So I'm just, you know, putting down these shapes. But I know I know that they're they're supposed to represent muscles here. I'm drawing the bones underneath muscles on this arm and all this stuff gets reflected in your drawing, even if you don't even if you don't draw it. You know neither city drawing the bones when I draw a figure. But the knowledge of the bones helps me understand how to draw the figure, and it's all very sort of subconscious, instinctual. So I can't emphasize enough the importance of of knowledge and studying that goes into your drawing even when you're being lose with it. All the stuff you learned in the past is gonna reflect in your drawing. Just like all this practice you you've done in any sport, is going to reflect when it's game time like sports analogies collect sports analogies because, you know, drawing is a very it's a very physical act. There's a lot of, ah, sort of muscle memory, instinctive things. They're going to drawing, drawing and painting. You know you can you can calculate you can be deliberate, and there's a lot of artists they're working that way, but alive, it is sort of like a second performance. You know, you're out there, just plan just just just doing it, you know, that's just your your hands or just doing their thing, you know? And here I am drawn the legs again. This is all based on ah, knowledge of the structure and anatomy of the legs can draw these ovals to represent different parts of, ah, parts of the anatomy. And this is the younger lying bones in the leg. We have the Dick Siemer. Then we have the ah kneecap kind of goes in the middle of the femur and the tibia, the tibia branches off inside and we heard the fibula on the outside. Then you have the metatarsals for the feet are the tar Sal's and metatarsals for the feet on that may have the not all of the hips. And keep in mind that these air also rotated slightly. The one leg is a little bit to the front. Thea their leg. It's a little bit to the side cause the whole figure is is also rotated a little bit to the side, basically like at the recorder Annual noticed that the arm structure is very similar to the leg structure. You know, they're kind of divided to two sections. No, I'm drawing the sort of armor details this little ah shape here that creates a lot of rhythm and becomes a motif in his armor that I repeat a lot of different places. So most and, uh, 10 times, at least. And you don't have to do that. You can. Ah, you could make it. Sort of like a big jungle if you want. Could make a very minimal if you want to just have one shape. You know, repeat a couple times, um, you can have a repeat a lot of times in this case, it it helps add rhythm and unity to the figure. No, I'm here. I'm working on Ah, the exact segmentation and showing how the armor is built. And this is all behind the scenes. What I'm thinking when I'm actually drawing it and this comes from that means a little bit improvisation on the armor because I don't think I've drawn this exact armor before, but I've definitely drawn armor similar to this before. So, you know, you're building on what you've done before, and like I said, and I'm gonna emphasizes, you know, draw, draw what you like drawing where you're familiar with, you know, and to that repertoire. But don't be afraid to just keep drawing the same thing. You know, you're gonna get going to get better and you're gonna add variations of it. And here you're gonna sort of develop your style and personality based on what you like to draw. So don't be afraid todo to keep repeating to ah, hundreds, thousands of times. Just keep doing if you want to, you know, change if you want to. But, you know, it's OK. It's OK to keep drawing what you like. Try and keep learning about it too. You know, I study a lot of, ah, real armor and I think it helps me when I went to draw my imaginary armor. No, I'm going to do Ah, study of the helmet. Something to consider when you're doing these care designs is bought is the ultimate use of this. Um a lot of it could be just just aren't right. You're making these characters just to exist as art as either original drawings or ah his. You know, original digital archdeacon making a prince. We're just, you know, pictures that you like. You want to share on instagram wherever you are. You know, I've sold a lot of artwork, just original character designed character drawings before, and I've exhibited original character art before, and I like doing that. It's Ah, it's a very creative thing to Dio. You can also do character designs for comic books are video games. I like to make my own comics, and I, you know, will often use characters I'd drew for those comics. Sometimes I make video games. You can design new characters for video games or use existing characters that you drawn before security. You're creating us what a cast you can sort of reuse and bring back and forth somewhere to like. After is in in Hollywood, you know, you'll see a lot of actors show up in a lot of, ah, that same works by directors. You know, Director will use the same after, over and over again, and they even use similar characters over and over again or variations. So as an artist or out of character artists, you can kind of think in the same way, too. You can create it a stable of characters that you can use and different different projects 8. Soft Shadows and Outline: do some, ah, extra little details that kind of optional, but it will get a little bit more polished. So if you ah select the layer mask, it'll create a selection. So you want to do is create another layer that has your figure layer mask on it, and we're gonna do now is put in some soft shadows. So make sure you use ah, a grace go layer and make sure you're a layer mask. It's probably set up. Looks like I accidentally erased part of my layer mask, so I'll delete that and start all over, And what I did was I selected the layer mask from a different layer and turned it, which turns it into a selection. And then I at a new layer and turned this election into a layer mask for the new layer and then make sure you switch from the layer mask to the actual drawing layer. And I'm using kind of, ah like a soft, soft grey brush right now, and I have the layer sent to multiply, and I'm gonna add some shadows underneath things and away from the light source. This is a step in the process of creating soft shadow, so it doesn't need to be perfect. We're gonna blur off the edges. So you just want toe put in the areas where you think there's gonna be shadow cast shadow. So under segments of armor areas where their light is gonna be blocked, he's sort of ah, ambient occlusion shadows which were shadows in between close objects under 30 seconds here on the bottom of his feet and after you've got some shadow areas and you want to pick a blending brush and just blend off the edges to kind of smooth them out a little bit, this isn't really a necessary step. But it does add, and it adds a nice touch to that figure. Gets a little more around it for him. You can take this character art. As far as you wanted to start painting it, he could, and I can go crazy with this. Ah, great Asian and you can add a lot more grit, a gradations. I can add a lot more highlights. Clean up the lines for now. I'm pretty happy with this, which kind of leads me to the topic of what is this for? And this is really I don't know what this is. Really? You know, I'm not sure really sure what I'm gonna using this for, Um, I like to just make character drawings, and I don't really think too much about what it's for. Sometimes if I have a specific project in mind, you know, make a character design for a comic or or a game or just ah, maybe for an ad or something. Sometimes I just like to make characters and the penny on what you're trying to do you can make it as detailed was not detailed. It's all up to you for me. I'm just trying to get the idea down for this character. And I'm doing a lot of comics right now. My own comics, some sort of working in that drawing in a comics mood. I wanna have this piece done. You know, not it's and too long. If you're going to, you know, make a finish painting and you're going to sell it as a print for an illustration you'd might want spend a lot more time, um, with the rendering and the painting and make it look very realistic and, you know, and polished and shining. If you do on concept art for a video game from kind of go either way can either Ah, you know, make it really detailed and realistic way to make a very rough this. Right now, I'm adding an extra heavy outline just to give it a little more presence. I feel like it really helps it pop out, gives it gives us table or more definition. So this character is It's mainly just for myself. For my portfolio. I, like Teoh, create characters. I may end abusing this at some some point, or this is just a stage and developing this sort of character. You know, I like to draw these fantasy characters, and it's sort of like I guess that's just sort of practice, you know, developing ideas. Maybe I'll do another character later that builds on this idea. But your own purpose is kind of up to you and that it will determine how much time you put into it, the kind of the process you do you use and also how the character looks. For example, if you're doing a video game as opposed to comic, it's the kind of two different mediums, because with the comic you're gonna have Teoh draw this character over and over again. And so you tend to make the character very iconic. You simplify the shapes and colors. Six. You want to sort of stand out as opposed to video game, where you can really get into a lot of detail cause you're gonna be modeling at one time, and then we're using that model over and over again so you can go into a lot of detail. You don't you're not gonna have to redraw that. The same could be said for animation, also even to ah, more extreme extent because And not only gonna be if you draw on this again and again, but perhaps, you know, hundreds of thousands of times for an animation, and you're gonna have different people working on. And so you wanna have their character even more simplified in that case. But I could see this character working in a comic. If I were to use this in a game, I might go into more detail, or I might just do it more detail during the modeling phase. This is a good, like a good base for armor design, but you can think about that if you'd like. You know. Do you want to share this on Instagram? Do you wanna have this on your portfolio? Well, that's sort of unconscious, I think for me, at least on this piece, I don't really think about it. Before I started it, I wasn't even ah necessarily going to use this for their video because I wanted this video in this class to be very natural. Just me drawings Not too, uh, premeditated because my drawing process isn't really you, like, formulaic so much. It's a lot of back and forth, A lot of changes, a lot of discovery. You know, I'm trying new things all the time, so you can't really can't really map it up. You know, I can't really outline it before I do it. It's all kind of in the doing. Maybe I could map it up, but that would be with the artificial. Actually, if I mapped it up beforehand, I probably wouldn't stick to whatever I mapped out. But on the other hand, also, like when you're drawing and making characters, you're just doing it so you don't necessarily know what you're doing. And that's Ah, that's OK 9. Bonus: More Characters: and this is kind of a bonus video. Gonna just draw some more characters to some different ones, and you'll kind of see the process again. And this is all real time. And like I said, the first part it goes relatively quickly. You can be a little more deliverance. Sometimes I am, but I usually like to be kind of loose about it, so I'm more fun this way for me. So I wanted to create something different from the last character. So an obvious place to start would be to make this one female. And that means drawing the female form, which is a little bit different from the mail. For him, there's a wide variation in male and female forms also, so don't get too stuck and a certain idea of how male bodies and female bodies look. It's a lot of variation. There are some anatomical differences, though, and sometimes you can exaggerate those or emphasize those to make the gender very clear. And you're drawing. You know, these drawings aren't photograph. These are lines on paper, thes air symbols and drawings work, sometimes in a symbolic fashion. There's a certain language that we've come to understand, and certain things signify male nous and femaleness. But as you see, I'm using the same process. Ah, through the first drawing, making all these sort of loopy things, putting in the figure and on the second generation, going into a little bit more characters on putting an armor, working on making interesting shapes, putting in more detail. It's character has a little more asymmetry in the body, but the the big shoulder pad on the one shoulder going up and the other one kind of smaller using my little beans to make a hands. So I want to leave you with the idea that you want to find your own technique in your own style. But it's good Teoh study others and incorporate their ideas and build on what they're doing because you're gonna have influences. And also influences can come from real life. But having artistic influences is fine, too. We should find your own way, find what works for you, draw the things that you like to draw, make the kind of character is that you want to make and then take a step back and think about why you do what you dio you know This is, ah, philosophical thing about our even character desire, and I haven't quite come to a conclusion yet with because there's things you like to draw because you like them and those things you don't like to draw if you don't like them, some things you don't like to draw because you don't know how. We're just not experience and maybe some things you don't like to draw because there's some sort of deeper significance. And then, you know, you can look into that. You can further and determine whether that deeper significant is a good thing. You know, for example, maybe a bad example would be if you tend to draw characters in the very stereotypical away . You may want to examine your your thoughts about people in the sort of stereotypes you have in your mind, that air servicing when you're drawing and maybe made conscious efforts to to expand your awareness. If you're into drawing characters, there's a good chance you're into characters generally and may be used to collect figures or use oclock comics or you like movies or books. You like starting characters from movies or books. So with character drawing, you have the opportunity to create your own your own characters for your own movies, Pierre on comics, your own figures. So have fun with it and create your collection and just keep doing it. You know, you don't have to make a masterpiece every time. It's okay if you dio. So in this drawing I'm doing a side view, and this guy has ah has a gun and he's taking a step, and I'm just gonna dio they're roughing in. He's got this weird big feet shape, which I used to like to draw a lot think that? I think that's very kind of from Robleto. I think a lot of the What's that? Guys have feel like that. And there you go. There's two quick character drawings. I got started and, you know, Ah, when you have these quick sketches, you can decide whether you want to take them to the next step where you can just keep him, Keep him at that stage if you want. So look to you and it's kind of cool. Having these collection of characters 10. Project: all right. Now it's your Terram. Your project for this class is to draw your own original character. It could be in any subject matter in any medium and every genre. If you like. You can name your character and maybe you write a little back story. Please upload it to the Project gallery to share of the community. I look forward to seeing your creations. 11. Outro: thank you for taking this class. I really appreciate it. I hope you enjoyed it. And I hope you learned something. Do you have any comments or suggestions for this class or for future glasses? Please leave a review. I hope you continue to draw and draw characters and continue to develop as an artist and as a person until next time keep dry.