Drawing Comics - The Art of Rendering | Robert Marzullo | Skillshare
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19 Lessons (3h 7m)
    • 1. Introduction to the Class

      0:55
    • 2. L1 Drawing the Layout to Our First Example

      8:24
    • 3. L2 Establishing Our Primary Light and Shadow

      7:37
    • 4. L3 Refining the linework and Shadows

      10:31
    • 5. L4 Rendering the Mask Of Our Character

      10:53
    • 6. L5 Rendering the Shoulders Of Our Character

      14:37
    • 7. L6 Laying Out Our Brick Pattern for Our 2nd Example

      7:03
    • 8. L7 Texturing Out Our Brick Pattern for Our 2nd Example

      10:18
    • 9. L8 Adding More Texture to Our Brick Pattern for Our 2nd Example

      8:37
    • 10. L9 Adding Final Texture to Our Brick Pattern for Our 2nd Example

      3:57
    • 11. L10 Adding a Pipe to Our Brick Pattern for Our 2nd Example

      12:34
    • 12. L11 Cleaning up the Line Work to Our Brick Pattern for Our 2nd Example

      8:34
    • 13. L12 Rough Sketching the 3rd Example Arm and Chest

      10:01
    • 14. L13 Rendering the Metal Part of the Arm the 3rd Example Arm and Chest

      14:04
    • 15. L14 Rendering the Upper Part of the Arm the 3rd Example Arm and Chest

      13:20
    • 16. L15 Crosshatching the Upper Part of the Arm the 3rd Example Arm and Chest

      14:42
    • 17. L16 Crosshatching the Upper Part of the Arm the 3rd Example Arm and Chest Part 2

      11:17
    • 18. L17 Shading the Creepy Hand the 3rd Example Arm and Chest

      14:59
    • 19. L18 Cleaning up the Line Work on the 3rd Example Arm and Chest

      4:51
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About This Class

Hello Students!

Welcome to my Class, "Drawing Comics - The Art of Rendering!"

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In this class we will be focusing on a variety of rendering and texturing effects. You will work along side me on three project files.  After we sketch out the basic forms we will then jump head first into the exciting world of rendering!

I will show you my process for cleaning up the lines and applying style to the finished rendition.  This is by far my favorite part of the comic illustrative process.  I hope that you will gain a lot from these lessons and I am here if you have any questions or feedback for me!

What you will learn in this class - 

  • Light and Shadow
  • Rendering Various Surfaces
  • Creating Depth and Dimension
  • Line Weight + Line Clarity
  • Cross Hatching + Texturing

Proper rendering can make a good drawing look AMAZING!  I hope you are excited to get started and I can't wait to see what you come up with.

As always, good luck with your art and talk to you soon!

-Robert

Transcripts

1. Introduction to the Class: Welcome back, everyone. My name is Robert Marcelo, and this is my class drawing comics. The art of rendering. In this class, we will be focusing on a variety of rendering and textural effects. You'll work alongside me with three various project files after we sketch out the basic forms will then jumped headfirst into the exciting world of rendering. I'll show you my process for cleaning up the lines and applying style to the finish rendition. What you can hope to learn this class, light and shadow rendering very services, creating depth and dimension line. Wait in line clarity, cross hatching and texture. This is by far my favorite part of the comic illustrative process. Proper rendering can make a good drawing look amazing. I hope you're excited to get started and I can't wait to see what you come up with. As always, Good luck with the art and I'll talk to you soon. 2. L1 Drawing the Layout to Our First Example: Okay, Welcome back. So now we're gonna do is talk about light and shadow and rendering kind of all of them together. And I wanted to start with some examples. So let's pick up the pencil again. Using Bristol board. Smooth this an HB lead in my technical pencil on. So what we're gonna do is first start with something that I consider relatively fun and easy to do. So you can keep in mind. You don't have to draw exact what I'm drawing here. But what I'm gonna do is start with a circle, which I'm envisioning as a sphere. And I'm gonna cut off one side here and I just want to explain, you know, the drawing process a little bit is gonna get us to what we're gonna need to shade. I didn't want to just start with a drawing there, but if you've taken some other lessons and you know this is pretty much based often Andrew Loomis style method of starting with the sphere defining the center of the face slicing off the sides you can do is in kind of different orders, really establishing a jawline. There's usually a divide here, and then divide here and at the length, but I just jumped right to the jaw line a wedge or box shaped with lower portion of the job . This is me kind of working outward from the center line. And then you can go from the divide here that you split into quadrants. Basically, you can put it out there in a doubt here, and you can get that plane change of the jaw. So this is ah, more simplified version that I'm doing because what I want to kind of stress to you place the year back here, if you want or roundabout in this area is that you can kind of throw this and rather quickly and develop a more cartoony version. But if you're going for more realism than you're gonna follow the Andrew Loomis method more tightly or you know more specifically, and then you'll get a more realistic depiction. Were needs a V for the separation of the neck, which I don't know if all you actually use that in the design of this character. But what I want to do is quickly establish the shoulders or trapezius muscles in this case and the V that you get for the color bones, Something like that. It just gives us a rough starting point to develop a character. Now, from the ear, you could generally find the brow line again. Like I said, since we're not find this too tightly. This is subject to, you know, change. You can change proportions. You can add more height on the top of the head here. What if you want to do If you want, um, or narrow face and you're gonna bring this line in which I kind of feel like this needs it's a little too boxy, but I like to start a little bit wider than as I'm adding my work. I generally can push in or out as I go. OK, so let's just say this about what we want now. I want to mainly specify a few different areas of this character's mask is what is gonna be so that we have different things to render and shade. And I feel like starting with something like this would be a little bit more basic so they can get ah, you known understanding because we're gonna render a few different materials. We want to talk about how that impacts the work and, you know, different surfaces. Air going allow you to develop these different characters and backgrounds and things like that. And you really want to make things read independently from one another. So I'm just going to kind of start sketching in some of the details. This is gonna be a mass character. So you're gonna bring out things or what? I like to bring out my own artwork, that the cheekbones here, the brow lines. I think that's kind of fun. You make the overly defying brow of the character obviously jumping through and taking these lines to develop forms and interior forms of the face. And then as far as the mask, we have to think about some suit design. And you know what other attributes like Is this a dark mask? Is there? Ah, you know, the two tone is their texture to it. Things like that. We have to think about that as we started to develop this his character. We should probably already know that going in right? So let's say that there's a design that comes through here and music stops abruptly and always forgive me if any Houthis resembles anybody else. So many things have been done. It's pretty tough to come up with an absolute new concept, But I gotta try and let's bring another section into here. Let's make this more of a point like this. And then let's bring these other shapes over here. Try something like this. Now you could also start to think about well, is this you know, if this is obviously a character designed versus somebody that's already existing, you could think about where some of these areas raised, you know, is the sexual metal piece or is this just ah different color in the PSU? Is it a carbon fiber kind of mashed? There's all sorts of different inventive ideas you can incorporate. Do you see the ear, or do you just see the effect here has under the mask. So is it a thinner material? Do you see wrinkles behind the ear? Do you see wrinkles all throughout the suit? Or is it so skin tight that you just see the different shyness and shadow that it conveys? So all of these are things that you have to think about as you start to develop this character. So at this point, We want to just get in the designs. Let's had some kind of shoulder pieces here. You kind of see, I do want these to be raised because I want to again Explorer variation with this. Within this concept, it's very easy to say, Well, let's just do this to color mask effect all throughout. But then it becomes a little bit more boring or were at least not expressing a range in our work. And then, you know, because we can always pull back, we can always pull back to the easier concept. But we have to challenge ourselves to go a step further, like maybe there's some techie kind of gadgetry and design work going on behind the character that comes off his back. Maybe maybe it's too far, but again, it's easy to throw that in there with loose sketch test the idea, and again, this is based upon more character development. I wish I could just draw famous characters for you here, but based on the classes and the way they're structured, it's kind of not a good idea to do so. I'm also gonna throw in this kind of techie ear piece again. I don't know that I'll keep this. Obviously, if I was working from a script, it would be a lot more specific, right? I would have to incorporate these things and they would be up to the writer character designer wherever you're working with a team of creative individuals to say no, you know, pull back on this ad this whatever. But I think this will be a good starting point for our concept. So just try to draw through this notice that I'm being very rough, very loose. I want there to be lots of gestural lines. So, for instance, even though this is a pretty static pose, I want to sketch through it and keep some flow going through the concepts. One of neat things that happens is as you're sketching through this and putting these light little lines in here, they become food for thought later on. As we start to shade and render this because you pick up on this as you soft to raise and redraw a lot of these little sketch lines that you think would mean a lot can actually develop more ideas. You know, the creative process is a very loose and energetic thing and you gotta allow yourself, Teoh. Pick up on that. So I don't think that every line has to be put down with such conviction in the very beginning anyways. Okay, so let's go ahead and take this to the next day's will start to implement some base shadows to bring out the major forms and then talk a little bit about that. So let's move on to our next lesson. 3. L2 Establishing Our Primary Light and Shadow: all right, so now we want to do is think about where the light sources. That's the first thing you want. Establish after you get your initial rough concept in the place. And again, I want to use kind of orbit effect. So it's if I just draw a little dot back here, you don't know if it's on the front side or back of the head. So you can just kind of establish a light sketch line of in orbit and based upon where you place this. If you place it here to behind the head here in front of that, we're going to say that the light is coming down from the top. You could place this higher, but we'll just say the lights were out of it, almost like a hanging and light from a room or something like that might give a little bit more dramatic feel. Now. A big thing about light and shadow is paying attention to your photos, your movies or TV shows. Whatever you're into. Lots of great reference, lots of great reverence for dark, you know, in dark, gritty movies, because obviously they go for a more dramatic lighting. But there's some great photography out there as well, and it's really helpful to pay attention to it, but then translated into your drawings, and it doesn't have to be so advanced. I know in the very beginning, I think I tried to look at stuff like that and really draw it verbatim, and you don't want to do that. You want to run it through your own stylistic filter and simplify. You're going to hear me say Simplify a lot to these lessons because it makes your life a lot easier. And as you naturally become more advances an artist, you're gonna pick up on more subtleties, and then your work's going to advance. But you don't want to start there and frustrate yourself. You want to simplify and look at the bigger picture. So with this, I want to think about this light source almost like perspective lines so I could draw from this point, I could give myself these little hopeful arrows again. It doesn't have to totally relate to that, but it's helpful to think about that, Uh, and remember what I said about some of these little lines kind of being food for thought immediately, This one comes to mind because since I placed the light lower, I could have raised this way up into the scene in these perspective land to be shooting down from a sunlight, something like that. It's a lower hanging light than it, you know. Generally it's going to say that it's a man made light, like a light ball or, you know, street lamps. You know, they tend to be lower, right? So what happens is, you know, you showcase that on the way that it hits your your model here, in a sense, but that sketch line kind of looks like it almost belongs to the area a little bit. You know, you could make the argument that if this was a darker material, so let's first do that. Let's think about dark toe light and this character's designed. We could pick this area to be darker. They could both be lighter, darker, obviously, but I think it's gonna look more interesting and show more contrast if this is, ah, darker here, here, that's about it. I'm gonna say lighter. Let's see, I'd probably be darker under the neck, but it doesn't have to mean black either, but predominantly darker So let's do this. Let's start with the basic drop shadow from the chin. And remember what I said about simplifying. So I'm basically just gonna make a wedge shape that resembles that jawline but a little bit of a stretched line because we have to remember that the jaw is further away from the neck here, but as it meets this areas closer so that shadow needs to resemble that, uh, you know, especially the light source being here. It's gonna hit here, and it's gonna draw a larger cash shadow based upon the distance away from the chin to the neck so you could put little exes here. You could fill these, and I like to do these quick little scribbles again. I just kind of makes me start to feel a little bit more depth into the design. Um, this is all going to be a little bit darker here, but I still want there to be some elements of light source. So what I like to do here is draw little bits of highlight. Again. I'm paying attention to where my light sources and I'm also thinking about the speculate or ity of the material. So I can put, like, you know, but the highlight on the cheek bones, I think that's fun to Dio. I could bring that out on the brow on the cheek, bones on each side. I can also put a nice, strong light source on the front. And again, it doesn't mean that this stays all light. We're gonna talk about rendering. This is well in showing a difference and rendering from this material to this material and even the material here with the what looked to be like a mechanical kind of thing. Also, we could say that the light hits here. But maybe there's just a little bit of a cash shadow from the side of this material, mainly to because we want to push this away from the body. So we have to be strategic with our shading. Uh, so again, I want to get in the main areas of shadow that's gonna be under the jaw, maybe larger segments of the anatomy. We can just throw in some loose shapes. They don't have to be extremely descriptive or extremely specific. Um, entirely accurate. You can just have fun with it, especially in the beginning stage. Really want to allow yourself to play with these concepts. Uh, the side of this ear piece. We could say there's a nice heavy shadow on the side of these pieces. Can we could scribble through there a little bit. If we need a little bit more representation of that, we can also use things like edge lighting and room lighting. I haven't really picked out where I want to see that yet. And then, since this other air is gonna be a lighter material, we can just use that to showcase more of our kind of fine line rendering. So we'll do like more of the wrinkles of the forehead, some of the wrinkles against the the nose. If this character even has a nose wants to be the comics, you can. I really do whatever you want. You're not tied down to realism in any sense. And then again, maybe a shed over here Now, we can also say, since the light sources here, wouldn't there be a nice big shadow on the side of the head? So, you know, we could even say that this jawline shadow would be pulled over and you get a nice big shadow from the head, but it doesn't all have to be a big, solid shadow. We could put a solid shadow here. We could put some rendering here again. We need to keep in mind that this may be a darker material if we have it tie into beside here, probably more sent unless we just place the line here. And then obviously we could separate this and go with lighter material. Maybe even, like, you know, like a neck piece that's pretty common in a lot of character designs. His walls, he try something like that. So all sorts of fun stuff that we do here now, again, this is You know, we have a lot more leniency here since we're coming up. I'm coming up with my own design as we do this, but which I think it's fun. Anyways, I think you need to practice. Both need to practice doing it this way, sampling and practicing your various materials and then go to practice drawing. The characters will know in love that are gonna need to look a specific way. But you have to remember all those characters have different material types like this. So again, we've got our base shadows in. We can also think about some shading for the background. We could just put in some great lines for now, just to kind of pull that character away from that plane. White background. So let's go and do this. Let's wrap up right here. We're gonna head over to the next lesson and continue to refine this and talk a little bit more about creating this separation and rendering some of this. So with that, let's move on to our next lesson. 4. L3 Refining the linework and Shadows: No, let's go ahead and solve to race this and redraw it a little bit. And we can also bring out more of the details. So we got a nice rough sketch start, so I used my prison of color, needed a racer, but always stretch it to clean up the racer. You get some Brenda smudge marks on your paper. That's never fun. But I'm not for this Is here where we can just kind of start to elaborate on this, and what I want to do is I kind of beside on the shapes of shadows a little bit better. I also want to get in my line. Wait. Now this is more on light and shadow. But lie in wait. Still conveys helps to convey shadow, and you'll notice there's a lot of styles where they don't get too awfully heavy into the rendering anyways. So in that case, you want to be very aware of how you can bring that out with your line. Wait, wait. A lot of times is gonna be lighter or thinner, I should say on the light source side. It's not always type thing, but it's pretty, uh, pretty common so what you can do there is. You can put a thicker line awaited line under the cheekbone. Sometimes you'll see a little bit of a band right there by the side of where the lip would be. The jowl area, I guess. And then, you see, I'm kind of adjusting some of these lines. I'm sculpting the lines as I go. So this is an opportunity for me to not only decide on these concepts, but to sculpt the lines and improve upon the line clarity again. Line. Wait. Just kind of play around with that you get in these, uh, these villainous looking eyes kind of use a little bit of angles, cause angles generally say villain. You know, I guess I could still be a hero antihero suddenly pad. But you say I use a little bit more angular and kind of Ah, slope to the eyes. Same thing, a downturn brow is either a bad guy here. Pretty mean, dude. One more another. And we could get in the heavier line to the bottom. Now, remember, we might render this darker so we might lose some of this, but I still like to kind of put it in there because it explains the forms. That explains the shapes that I'm going for. So even though I might entirely shade over and feel like we sit in my time there, it's not a waste of time, because again, it helps explain the form, explain the character, give myself a boost in, ah, confidence of a concept which is important so that when I'm drawing through this, I know what I'm looking at. And I've got a sense and a feeling of who this character is. So sometimes tracing areas of the work within your own concept really help you to almost build a comfort level with it. Okay, really Know what I'm after your versus if you lightly interpret it, which is okay in the beginning of the concept, obviously, um, you might just kind of scan over it and maybe even cover it up. You know, you're not committed to it. So this is a little bit more of a stage of committing to the concepts that are here and again. That's why we can make the line clarity come out better, because we allowed ourselves to look through that rough sketch and find the concepts that we ultimately like and identify with. I assume he kind of nudge lines around just because cemetery is always a tough thing. And this is even though the space is only slightly on an angle stuff to try to pinpoint divides like so you know, a little bit wider on this side, but not so wide are so different on the other side, where it looks like a mistake, but enough where it kind of resembles a little bit of four shortening that a little bit of angular shift from the viewpoint. I also feel like this needs to be pulled back, but we'll just go with that for now. So again, you know, mainly want to hurry up and get into that that light source information playing shadow someone bring that shadow over here. Now I want to also make sure to mention that Shadow doesn't always have to be organic or angular. It's that that can be very style specific. I've seen lots of styles where, uh, the shadows are extremely organics from the angular vice. A little bit of both. So, uh, but the one thing I think that makes shadows kind of read well, is that they pull together. So notice that even though I put a little line right there, this is all the same shadow. Or I guess, the shadow from this area shadow from this year. But they should pull together off. You should show too many separations in the shadow. It can start to read poorly, so play around with kind of connecting these shapes two and 40 like you know, at a piece and another piece and connect them together. And then as they break off and a light, you can shift him around. You could do little divides and separations, but I think it's helpful. Teoh try to group those shadows together. So here I want to think about the late source. I think I want to see a little bit of lights was under the eye here, tying into the cheek so I can think the same way about the light source that it kind of pulls together. You know, I might add some rendering in there later. I might leave a small hedge laid off the cheekbone There may be, may be not just kind of playing around it in these areas where I want to see wrinkles off the eyes. These could be small, uh, white lines. I can come back with white out if I'm making it things like that. But I just want us also point out that when you do these larger highlight areas, it doesn't mean you can't have some neat little details in white on the others. You can have a little bit of edge lighting back here. So in the back of the head, what to need about doing that is when you start to incorporate a little bit more of that, your coloring options open right up. So again, here's our light source. Let's put this highlight on the top of the head there. We've got one of the top of the head, the browse on this side. We could have the light kind of hit the side of the head, so it almost looks like an edge light over here. But it's a little bit kind of a lot larger because it's on this side of the face. So I want to show that difference from one side of the other, and we could say that this bottom part, it's more shadow. And then maybe there's a stronger portion of light on the side of the cheekbone there. Remember to play around with these shapes as well. So I think at first we're just kind of scared toe shade as much. And maybe scared is not the right word, but did a little more hesitant anyways. And we just have to play around the shapes draw lightly until you kind of commit to something and, uh, experiments so that you find what you like now also, as it gets down to here to draw a little bit more extremely, use this more is a It's late. I just picture that down here the side of the Chan made a little bit of light and then maybe just a little bit of a light hitting on a top portion of chance. I'm trying to picture a little bit of that rounded in this and at ultra defined jawline chin line, whatever and, you know, maybe pick up a little bit of light source on the front of that, so I don't know if I'll keep that, but that's kind of my thought process. Anyways, a little bit adds light over here. Bring out this line for those had a Chan. I like a little bit of Ah separation there since we're gonna put a shadow or rendering here . So I think that makes sense. So now let's go ahead and just put these little excess for where we're going to shade this end and again, we're going to bring out some more rendering in these areas. So we do a lot of little textured lines and have fun with that. We can also even have our texture lines coincide with the sheep that goes through here. So just because this is filled in one way, we can even render ever so slightly and have it kind of line up with that kind of re commits us to that light source or shows a continuity in that light source, even though these air very different materials. So I'm just like them. And now let's go ahead. Don't say the next piece is dark, darker. Let's see if this here is later. Well, give us an opportunity. Render somebody's cool like, uh, Sprinkles and neck muscles kind of overly stylized depiction, but that's OK. And then, as faras, the chrome stuff will put a little bit of this chrome reflectivity and you'll see. I'll just kind of hint to this at first. And just remember Chrome will do some more samples of just chrome because it's, I think it's a really tricky one for people to get. I know I've battled with it for years, trying to get it right, but what it is is is really just a reflection of the neighbouring surrounding area that coupled with where the light sources. So, for instance, we put a little glare at the top here and we can put some rendering. And just like that, it kind of looks a bit shiny. But we'll we'll bring that out even further and incorporate some these little techie divide lines, which are always fun, easy to dio. Same thing here we can bring out this shape will just shade some of the sand. And if you remember, we wanted some kind of background texture just to separate the character. I think that's always fun to do, and it's pretty easy, so why not? And just like that, we're starting to get better representation of what this character is going to look like, and hopefully have some good separation in the various materials of a character. That's what the the goal is. So let's go into this. We'll stop right here. We'll head over to the next lesson and will start to fill some of the Seine and talk a little bit more about the rendering. So with that, let's move on. 5. L4 Rendering the Mask Of Our Character: Okay, So what I want to do is actually shade some of san I'm actually gonna use a two millimeter lead holder have already iterated, but I want to disagree iterated, I guess, but basically the lighter lead that I generally used to age. But what's nice about that is you probably want to start more with lighter lead than I did in this instance by I want to go with the darker lead so you could really see what I'm doing here. But, uh, for the shadows, I can just fill this in. Keep in mind, a lot of artists will just leave them blank with little exes for comics. But I like to see what it looks like. We'll just fill us in a little bit. And also keep in mind that you're going to soft to race and redraw Aziz many times as you want to kind of feel like your light. Your line work is tight enough. So in this case, I think this is good enough trying to lose in a way where I don't cover up from trying, but I just kind of fill these areas in. You'll see a lot of artists. We even get confident with this process and use a bit of an ink wash or prisma color marker . Grave marker. There's all sorts of ways to do this, but for pencil drawing, I like to just fill it in, especially if it's gonna be traditionally inked. So just leaves it open for that, I guess. But just like this, we've got a little bit more that shadow in the place. Pay attention to that. I do want to soft erase and redraw this. We're going to talk a little bit in more detail about the chrome effect just to make sure you've got a better understanding of that. Uh, with the neck piece here, I think I'll add a little bit of, ah, shadow to the backside. I was sick of making this a darker, but I think we're gonna do is just leave a transition area from the mask, and then this area will then become lighter. So I like to I like to adjust the tones and Paris materials of a suit design because it really kind of pushes the shapes around. So what? What I want to kind of convey with these lessons is a shadow generally will receive things into space. I guess not always, though, because sometimes you use shadow to draw in the foreground like silhouette shapes in front of a character which will direct you to the light source of the you know the face in that instance. But by using this light to dark, you really pushed things too and throw. So, for instance, a shadow under the jaw really makes the job pop out. Now, if this was a lighter jaw area like a regular face with no mask, then the shadow would be a lot more influential to this. That's also why I had to leave this edge lighting. And I want to make sure to leave little areas of light source here and there, because if not, it will just blend into the shape of shadow under the jaw. Another reason I might want to actually just render some of this so I could start off pretty dark right here. And as it comes over, I could use render lines. And again it helps to give that separation from this film and Maschera, which actually I think makes more sense. I'm gonna go with that. So even though I kind of fill that in this cross hatch is basically a note to myself now to when I render this further to clean that up and use from cross hatching there. Now, the other thing is I want to also get in there now, on the switch to my darker lead. I want also get in here. I want to make some pretty neat little render lines so that everything is not just an abrupt edge. So maybe something like that, remember, these could be his tiny is just little points off to the side, but it just has a little bit more of an interesting vibe to the work. And a lot of times, I think it just softens up the transition. So instead of it just being an abrupt, solid line all over the place, you can render this a little bit and bring it out and and again make it look a little bit more interesting at the same time. Also picking up this line can I want to get in here and bring out some of the, uh, little details and render into the mask so I might head in some little pockets of shadow here this is almost just, like texture ring. So I'm essentially just putting in some tiny little texture lines and something that will make it read more independently. Then the other parts of the suit gruesome rendering over here. And like I said here, I want to put in these kind of lines across here all sorts of neat ways that you could render. I think the main thing that you want to think about is how to create that variation. And just remember, that variation comes from experimentation. So you want to really try different things at different parts, you work. But in this case, I'm just gonna use, um picked it thin lines. Now, in this area, I'm trying to obviously pull longer lines because I want there to be more transition of shadow. So I want there to be a larger Grady in this area. Um, now, generally, I think this is generally but I guess it could be sometimes this sometimes that a hard time saying anything is always one way or another. But generally, if you want a material look more dispersed in lighting, so like a fabric or even skin, or I guess skin actually skin could be pretty speculator, but, uh, you know something? It's a softer material. Um, we'll say cotton. You're generally gonna bring more light source, like two dark. It's not gonna be so abrupt. And that is gonna be based upon the lighting scenarios. Well, obviously, if you have a hot spot of light that gets pushed back But things that are more speculator like chrome or black onyx material is gonna have a very like a bowling ball or something like that. You're gonna have a very specific hot spot. We'll talk more about that as well, But just keep in mind, that's where you're gonna see me sometimes a long gait lines and sometimes use more abrupt shading because I'm trying to play around with those those concepts again. You just want to create variables in your work. I guess you think this would look better if I winds this way? So that's another thing. You're gonna try different configurations of your lines, but ultimately what I'm trying to do at this point is just really round out the shape. So I'm thinking off. You know, the contour on the roundness of the for it here and as well as what the material might look like again, I kind of just like the difference. In contrast that I'm getting from the top that now I do feel like this almost looks like 1/3 material because I've got so much of this filled in. But we have to remember that this is the light source that we're comparing to the the forehead there. So I don't know if that's entirely accurate. Almost feels like based upon this being, so take to the area and actually flip that one down there. Oh, little mistake there. I want the light source to be on the front of the brow right there. So again, that kind of coincides with here, here, here, this. But it's boring the edge because it be close to the light. I guess that's Ah, I could be depicted a couple ways. We could just go with the same type of highlight on the front areas of the face here. But I'll just go with this like that again. I want the side of this ear piece to be primarily in shadow. It just a little bit of legislating here and there. No, they're neat little trick is as you're drawing your little techie lines, you can take a little bit of white out, or if you're working digitally now, it's pretty easy. But if you're working traditionally gonna use a whiteout pen, I will be showcasing that later as well. Different lessons so I can show you how I use that. But just like that, we could fill some of that end. Show that little techie separation. Maybe add another shape. Remember, if you want something look more advanced, you just more divides. More little shapes. Change this. So let a little bit all those things congenitally make it look a little bit more high tech . Okay, so now we got here. So we've got somewhere shooting here. We could still need to bring more rendering lines off this other material. And we can keep playing around with beefing up the line weight because I think a lot of times the more you have a good line weight to the design, the more it pops off the page. So it's easier kind of shy away from this area. I found myself doing that, but I usually go back right at the very end and add more line weight and it seems always look better. So now this is another plane change that we can kind of perceive on the cheek area there. So what I'm gonna do is that just a little bit of lines right there just to show that little bit of separation right there could had some other little points going in the direction again. Just play around with all these different types of rendering so you can come up with. Also, don't be afraid to just render right through the center of Samaras your work. You can always erase it if you don't like it. But I think it that's a little bit more texture. If you leave too much of that area, just blanket. No, I don't know. To me, it just doesn't read as well. Okay, So just like that, we've tightened up the work a bit. We've established more of the areas of shadow. What we're going to do now is head over to the next lesson and I want to softer race and redraw the neck and the crow Mary and talk about that. So with that, let's move on 6. L5 Rendering the Shoulders Of Our Character: All right, So now we're gonna soft erase this lower portion of the character and continue to refine this so again with the kneaded eraser, Stretch it out. Row good. A zai previously mentioned. I'll say it again. This is a prisma color. I needed to raise her. There's obviously tons it can get, but that's, ah, one that I happen to be using. So I want to mention that I'm just gonna push all this information back or I say back when I'm just softer racing it down. So it's easier. Teoh, you know, pick up on the lines I want get rid of the lines I don't want. So, you know, erase it to whatever level you need to do that. If there's something you absolutely don't like that you know you're gonna push that back or race it down further. But really love. These things are just fantastic to use. OK, so now what I want to do is jump in here and, uh, you know, again, pull the lines that I like. So if it's the shadow I want to see here, then I'm gonna make sure redeveloped that shape if, uh, you know, this is a good example here of where use these these kind of crisscrossing shapes. So you know what you know about the anatomy? Is that the sternal Claddagh Mass? So it comes down and points down in the collarbones, right? There's little V. There is actually another little line that comes up here if you're trying to be more realistic and there's more of a a shift in the shape here and it's obviously not this defined and almost anybody, right? But what we think we know about that and then the sweeping muscles and, you know, information that goes in there again, we just kind of take what we think we know about. It is the way I like to put it, and then we develop it from there and stylized it. So for me, I want to put this pretty heavy shadow. You know, the this kind of represents the trapezius and making that look ah lot more bulky than it wouldn't again. Most people have not anybody but but what I want to do years kind of pick apart some of these shapes. So I'm just gonna jump in there in, you know, pick these shapes to turn into shadows. So this is a little bit of style stylistic interpretation on some of what you might see. So like, if you really like to do something strenuous with your jaw, you might see some of this pop out in your neck. But definitely not as much as you're gonna see the character. And we're also kind of imagining. Or I should say, I'm imagining that there's some wrinkles in there, so it's a little bit of everything, really. But again, if I had to say which thing is taking precedence, it would be style. In this case, this isn't a realistic depiction of anybody. This isn't something that I'm looking to hold up against a photograph and say, Oh, I got this wrong I should have did they should do that doesn't mean that I won't correct thing things as I progress with my art style and my development, that will definitely happen. I'll start to look at things and go. I always put this one line up too high for the side of the shoulder there, and I'm gonna auto correct as I go. But as I like to tell a lot of young artists, I don't think about correcting as much within each piece is maybe is that probably should. But the reason I don't is because I feel that for me personally will hinder me from finishing the work. So I think it's important to acknowledge that something isn't right or that you shouldn't even say right around, but acknowledge that something isn't the way that you want to see it within your work, but develop it through the completion of your of your next finished piece of the next five or 10. You know, this is very much a journey. This is very much a process where you have to keep getting better and better as you finish work and you need to study so many different things to make, you know, good comic are could a figure drawing illustrative work of any kind, so you can't really get bogged down and to trying to fix everything and making every piece perfect. At least that's not the way I thrive for me. If I did that, I would only complete probably a couple pieces a year, and that just wouldn't be adequate for what I'm looking do. So again, I'm gonna look at some of these things, and I'm going to study them as I go, I would say, Well, I like the way this came out, that something could be improved upon. And I'm gonna make a mental note of that, and I'm gonna keep progressing forward. So that's just the way I look at it. But I figured I would share that with you. So hopefully if you ever feel that kind of part, were you You, uh, clench up and slow down your drawing process because you're something isn't right Now if it's a big ice or that's something that definitely just doesn't read well, so you you know, you put an arm in there, it just doesn't look like an arm. Then obviously, you have to go back and and it that work. Um, but there's certain times where you know, you have to develop this for yourself where it just looks may be different, or you're your own interpretation and, you know, you just gotta let it go, especially if it's something you just can't seem to fix that day again. You don't want to make it. Work affects you completing work. I don't think anyways, so just like that We've got a little bit more of this in there. So you see that I just kind of picked little bits. The shadow. I'm also using a little bit more. Drop shadow Teoh her cash shadow Teoh, manipulate these shapes. So I'm thinking about the effect they would have against the underlying next part whether it be the suit of the anatomy. And I'm just drawing in these little shadows and then from here Oh, just kind of you render this out cans and tapered lines. I would bring out the biggest part first, which again I would kind of be the shadow on these trapezes muscles just like that little bit of shading there. We could cross that just a little bit. This shadow would probably even come over this way with that. Some additional lines over here, just a little bit of lines off the ads there. It always makes the edges like a touch more interesting when you do that, I don't know what it is about that just such a simple little Siris of almost dots and then just makes it look a little bit better than without. And then for this part, this is actually a neck piece. We could also get in here and we could do some little separations. Some, like maybe two lines side by side, parallel to one another just makes it look a little bit more detailed. We can also think about that Drop shadow in that drop shadow from this needs to round out with that neck muscle. Even if it's ever so slightly, it will just make it look a little bit more dimensional. Same thing we could have a little bit of separation. You know, move, smother anatomy or wrinkles or whatever. Sometimes you just kind of want to throw little bits of texture and detail into an area just so it doesn't look two plain and also say this is like a, you know, a tattered suit material that the characters were. Maybe it's got some abrasion. Maybe it's Goetzman perfections, you know, little dents and dings or whatever, even if it's cloth that can have little scratches in there and think so you really want to play around with those concepts? I always think, uh, you know, more textures is better than no texture or more is better than a little, but it just depends on where you're doing. Some things. Like, for instance, this chrome area. You're gonna want this the state cleaner. So let me turn the page here a little bit. Hopefully, uh, this 13 off too much. But with what? This air I want to do the segmentation of the the metal. So I like to do these little techie lines kind like this. Just little angles here and there. You play around and see you know which ones look good? How many you can incorporate before it looks like too much. A little bit more line. Wait right here. You know, you can make this land wait around this area heavier, and it will bring it forward from this other information to play around that also shade a little bit to the side of it. Which in turn makes it look like it sits away from the shoulder here and then for ah chrome . I just do this kind of bubbly kind of cloud effect. So these kind of swooshes and I think in some areas up have other is thinner. I'll generally leave a little bit of light to one side and then actually have to rotate this again and then I will shade from here. But what I want to do with this shading is almost certain thicker. Could be tapered lines could be straight lines is my matter. But then as it comes down, I want this to fade off. So it just emulates that Grady in fade that you see from a reflective surface, you know, you see the the surrounding area basically inside a reflective service, and that's really you know, the simple idea that you can elaborate much, much further. Obviously, there's people that I do way better chrome effects that I'm gonna show you here. But, uh, you know, and study from other artists, see how they do it, see how they interpret it. But it's essentially that. And then you can do a couple little glare lines, you know, reflects and reflection lines up time and, you know, just play around with it. But that's initially the concept right there, You see, it just looks a little bit more interesting by doing that, so same thing will repeat that process a little bit of shooting to the one side here on this side. We could say maybe we're gonna see a little bit more shadow. We define that the light sources more to the front. So we could say that this is actually casting a shadow onto the shoulder there So you can round that over Kind of like what we did with the neck here. Like it could still use a little bit more of that to bring that out. But then back over to here. We could do where you're seeing the side of this material. Um, and make a Do you see your line weight really make that more pronounced on this side? We can show those techie lines going down, so you're shifting the angle in which they they kind of flow downward. You can even do something like this. This could be asymmetrical as well. They don't need to match. He could bring one up. You could bring one out further, then maybe bring it on, angle down, down with curvature of the the sideline or whatever. Lots of different ways. You could again interpret what you want to do here. Forgive me, because I feel like it sounds weird when I try to say the word interpret up saying the wrong and that's a little, A little lines right there and again Now for the reflectivity across here. You may want to keep that somewhat parallel. I don't know if that even needs to be, but But now the only bad thing is I'm gonna get a little bit of a tangent with the way that I did the lines there, so I probably should have thought that through a little better. So I'm just gonna bring that a little bit lower so it doesn't conflict by me trying to run it right across those lines of it. Be a bit counterproductive there, and I'll just put a simple arch. I like to usually put a couple. And if it's a longer stretched out area, then I'll definitely extend this about same thing. A couple little sweeping lines off time, little glares. You put a little starburst kind of line up there. Her starburst effect. So it looks like Claire shining off time. You can also do that on the outside of it as well Like this. And then I'll turn the page again. Again. I want to be thinking about putting these lines tighter in succession and or and then as they come down on a separate them and dynamo and same thing with cross hatching arrogance not identically with cross hatching, but just cross hatches. So it looks a bit more shaded. And just like that, we got that part. And then for here, I would probably I could detail this all the same way that this is some kind of metallic device. We're just kind of imagining something here, and I don't really know what this is, but something techie that's on his bag. So for this, I could do all the same information here. But sometimes simplicity is another great thing toe throwing your work. So I'm just gonna shade this bag, something like that. It gives the anchor whether it be myself or somebody else, an opportunity to do something fun there, just that little bit of cross hatching. And then finally, I can just bring out some of these lines. So again, even though they're just soft to race back, I can get in here and sculpt him a little bit more and play around with the, uh the way that I want to see the cross hatching. They're going for a thick, uh, the client on one side and then is it? I was out, and then I paid it off a little bit. And I really recommend just doodling. You want to practice lots of variation in the way that you create these types of lines That gives you more textures and mawr areas of interest that you can incorporate into your work , so play around with it. So, yeah, so that's it that will conclude this example. And now we will head over to more examples and keep rendering and keep having fun. So hopefully you've enjoyed, uh, this particular part of the lessons and let's move forward. 7. L6 Laying Out Our Brick Pattern for Our 2nd Example: Okay, So now I've got a box here, obviously. And you just draw the box, you know, use Ah, 90 or whatever you gotta do. I just used a roller roar and it's easy enough to start with line, roll it down, hit the next line. Or, I should say, a parallel platter on a roll roller. I just like to call it that and then use the edge of the page and come over the other way. But it doesn't have to be perfect on the trick. I want to show you here the way I like to do breaks is first established, one of the whiz. So I'm just gonna do this visually and then, you know, if I wanted, I would use a little marks on the roll, right? And I would start probably by using the closest market and counting down from a tree a different way because there's lots of different ways to do anything obviously. And this is just one of the ways I developed. So I figure out what showed you and so what? I like to dio call me crazy, but I just take and make a mark the starting point and then the next point. Then I move it down so I could see it make Mark. They're moving down work. See it so on and so forth. And that's just the way I like to do it. I feel like it's a little bit easier than the ruler. You know, mileage will vary, right? You might think that this is crazy and want to use the ruler. But I kind of pick up some speed here. You can actually go as far as to go back up, make a bunch of Marx, and then you move a lot faster as you progress. But I think this way works out pretty well. And the other reason I like toe do this. Or I guess I'm not too concerned with whether or not this correct is bricks. Shouldn't be too awfully even. So you're going to see that by the time I do this, they're gonna They're gonna come out pretty even anyways and actually know what? I'm gonna skip meals every other line. Want these to be bigger, so you can really see it. Plus, I really want to illustrate the separation of the bricks. I think that's important. Now the other thing is this like, you know, if you don't have a, you know, parallel plotter like this or roller roller you would use you would make the same marks on the other side in the same fashion. But in this case, I'm just going to start from the top line rolled down of that second line tomorrow. Well, that next one critic Mark so on and so forth. It's actually probably better that I hold in the middle, so I don't skew from one side or the other. A zai pulled down on this. Where is this going? Right there. So you see every other marks, so there's gonna be a lot bigger breaks. We'll say center blocks instead of breaks on. Then as far as the distance across, we can just go obviously this way. And we could pick one of the West's that we want to see their We can also start to incorporate some of the gap. So the mortar mortar joint, I believe, is what you call it the air for the mortar like that. And then we could find center. If we wanted, we could crisscross our corners. That would give us center, which would give us that next mortar joint, but I'll be honest. I just do this visually. So one of the reasons I start to freehand even early on like this, because brick patterns, if you just stay very, you know, to the same exact method all the way through, it's going look really boring. It's gonna look to mechanical brakes or, you know, maybe some breaks or mechanically engineered. I don't think they are, but a lot of, um are just handmade and their place together by hand. So what happens is you need to show that in your work a little bit, or I think it just starts to come across is not is accurate. Then there's nicely. It was texture knows good stuff. Now again, we could take out our little sheet of paper or the roar. What have only use we could map out the distance of the break. Even the separation of we want so knows I created another two marks where that last one is so I can extend over here. I'm just gonna sketches in real quick, because again, you know mainly to it. We're in the rough sketch stage. This it doesn't need to be. I don't need to pull the ruler across this to get the's right, because we're still rough sketching. We change these all day long. It's the same thing. We can use that right here. And then we could double check it because we should end up with center. So if we wanted to again, if you want to be overly critical, we could crisscross our corners, find center, and that should line up to hear if it doesn't just move it visually. Now, even with this part, you can make the the mortar joints a little bit wider here and there. So I'm gonna purposely do that actually feel like I've made him too close together. Kind of an accident. Like sometimes you're trying to, um, make things look a little too clean. You get in this habit of trying to make your artwork look a little more polished. The rest we can kind of cheat, use the rulers. Let's just do that will speed things up. But I don't want to spend all day just showing you how toe bricks is more about the rendering than anything. But now, in go across here, we could just do a light sketch line for each area. Crisscross are segments, obviously because and this is more should be drawn this lighter. But I want you to be able to see it pretty easily. All right? Just like that. We've got our pattern that we're gonna work from, but again, we want to mess his pattern up. So what I'm gonna do is just go in here, sketch over these. You could even make some crooked, you know, you could make. I guess what makes more sense is one line would be straight. Another line could be crooked. So it's almost like the break Get chipped away right there. Do you really want to play around that concept? But we'll do a lot of that as we progress. I just want to sketch through this because these are just way too clean. And what do you think when you see these very clean lines, you think mechanically engineered, like like this is no longer a brick wall, but maybe metal divides and that look like break. And that's not what we're going for. We wanna actual brick wall, so we need to mess it up a bit. Same thing we got to go in the other direction. So for this I will start with the ruler just because I love to turn the page all over the place. But I generally would I would start turning the page and drawn these Free him. But I was at least establishes. Now keep in mind, I'm gonna pick the same side off the line toe, add the second line. So that's all I'm doing here. I'm just making sure that each time I had the line, it's at the bottom of the other line. So that have some kind of even space going on as I cut through that. And just like that, we've got our brick pattern. And so now what we're gonna dio is go back through and we're going to start to mess this up in some different ways to really bring out the texture and make it more interesting. So let's go and stop here. Let's head over to our next lesson and mess up thes breaks 8. L7 Texturing Out Our Brick Pattern for Our 2nd Example: So now let's go and mess up these breaks. So again these things are slapped together. They chipped a break when they're being put together, their place generally by hand or say they're always placed by and their tree obviously machine manufactured. But then even that they don't always come out perfect, right? So what you want to do is think about these things and mess him up a bit. And all you really have to do is study from photos are you know next time you're by a brick building, really pay attention to it, get up and look at the details. Now one of the things I recommend is not even feeling like you have to go around it. Just chip up the edges. Okay, so it's really easy to find yourself. Repeating process is a little too much, and that's what gives you a pattern, right? The same process over and over again and as a pattern. And although those could be very important and they could be great for the groundwork in the design of what you're doing, you have to learn to go right through it. So what I recommend here is even lightly sketching you even just scribble some patterns through it you could even take. Now, let's try a little bit thicker. Lead eso You see, this one hasn't been sharpened down. Actually used a couple of these at various intervals and I'll have some sharpen, some not. And what I'd like to do is just sometimes even take a bigger lead because it it can. It gives you a different line. Then you can go a lot bigger than this as well, obviously. But what happens is, since you're not work with such a detail point, you tend to draw even a little bit differently, like it's easier to implement shadows and imperfections with something like this. I think, uh, but you want to try all these things. You want to just mess around, mess it up. Obviously, we're using a world to be soft light. Well, this that to H together was an HB. But this is a relatively soft lad, so it's gonna raise pretty easily against this Bristol board and kind of fight the urge to be to repetitive because again, we're trying to show an organic nature to this, you know, kind of a chaotic nature to what might happen. So again an edge might be Chip. There might even be a little piece left in their next to this edge. There might be a big chunk out of the bottom here. You know, just do whatever you can think of. Also, when you see the divides in the cracks, they might be ticker. I would assume they would be thicker at one spot and then dinner at another. So show that variation So a crack isn't just, you know, drawing a line through it like that. You know, they could be one former crack or maybe a very small hairline crack. But then you also want this variation where you big, kind of broken up pieces in some areas have a little bit of shadow in there. So again, just randomize show imperfections. But also don't be afraid to scribble right through it. Think of it like this. If you're gonna try something you've never tried before, you know you want experiment, you want to call it with something new and inventive for your brick patterns. Just draw more lightly. Use your lighter lead and place those lines. And they're very lightly because you know that when you solve to race, all the very light stuff is gonna disappear. So you work in a way where it doesn't bother you to scribble to experiment, toe throwing something that you're not sure off. So and actually, I just noticed Get that line on the bottom that I've been in place. Let's put that in there. A quick this one. This particular line like this should probably be the only one that's actually pretty straight. I mean, there could be a negative will be slanting there, too. But the brick themselves could be off the gap. You know, like a brick can look like it's been pushed down and, you know, crooked or whatever. But you could probably say that those need to be a pretty level in parallel just so that it doesn't look too much like your You know, you're not taking the time to make things look correct, I guess. But it's not really again. I don't know that there's any right or wrong way to do breaks. You'll see some that are obviously just all these different shapes, like, I think it's called Cobblestone, and there's all sorts of neat things that you can pair up with your brick illustrations and make this stuff looks really neat. So again, we're just drawn into crags. A lot of these little Y and V shapes. They can go sideways right through the break doesn't matter. And I'll be honest. I tend to overdo this, but I really like it. I really like the effect that it brings by texturizing the break like this. So I think in this case, you know, Maura's more. You know, a lot of times it's like less is more, and I think for things that are pretty and beautiful on symmetrical and concise than you know, overly mechanical, Then maybe less is more in that situation. But for things that air aged, weathered bra stick, whatever terminology want to use their all the above, then you want to go with more of this type of stuff. It's fun, like there's a certain freedom and messing something up. You know, it's like it doesn't have to be right, because you're being so random about it, skewing it from any sort of brightness. Now, the other thing is that these bricks can have some weighted lines to the edges because what we want to show is that instead of these mortar joints sound that the mortar joint is pushed in, sometimes you'll get word actually comes out. You'll see it like drip down onto another brick. That's kind of fun as well. So you can. You can incorporate some of that, too, but generally the break is has got some shading or shadow to one. Or, you know, you could do a little bit on these side, like in the cracks, but you could do a predominantly heavier initiating if you want. So again, you're gonna really separate this with heavier line wait and even little bits of shadow. So that doesn't feel so flat because you tell, like right there, right here, especially. It looks very flat until we get in there and we rough it up and we put in some of the shooting, and you can really draw right into the mortar joints as well You can, because that's kind of like Textured Ride. It's got these little specks of imperfections in there as well, and also what the bricks themselves you can get in here and just like dad, like little long little bumps, little specks as well. So it doesn't have to just be cracks where it could be. Just like the brick has a a raised area on it. It's casting a little bit of a shadow, all sorts of neat ways. You can do this just being very random about it. Get in here and at rendering lines and everything. But I first liked build up some of this bits of information here. You can also do indents. One way you can do an end in is kind of like a little bit of shading, kind of like cracks almost. And then as I come back, I'll render and you'll see how I'll do this in a couple spots. It kind of looks weird, almost like the first time you do. It looks out of place, but then the more you overlay incorporate this texture, the stuff all starts to. I kind of pull together a little bit more so it's like if you were toe, take a white page and just put a scribble in the middle of What is that? It doesn't make any sense, but as you start to build around it, all of it starts to feed off of itself. Sounds bad, but work work together. Let's say that it sounds a bit better. So again, little in debt right there. Bring some lines off that, but we'll do the rendering more in the next stage. I'm just gonna just really want to focus on randomized textures right now. You see, this stuff can get time consuming, but I think that when it's done, it just it's unbeatable in the way that you know you can do it more, You know, with a Siris of steps and overlapping textures and kind of not necessarily need to do the drawing process. But nothing beats Ah Freehand kind of rendered version of this. I think me personally, this is what I like. So because that's all you know, we all got different things that we appreciate and are right. So yes, so we're just gonna keep repeating this and throw in some of these heavier lines. I really want these bricks to start feeling or waited, throwing some thicker lines here and there. Support speeded up. If I it was kind of scribble more, it's almost like painting where you have underpinning and then you have the detail work over top. That's kind of how you want to think about this type of stuff in my own opinion, like you want to scribble and get a bunch of it in there and you can always go back and clean it up. And sometimes these imperfections really come out later. You just kind of see something in the sketch work. It's really fun to like your and thats so deliberate about everything, so it makes it more interesting sometimes. Okay, so just like that bunch of texture again, we could just go all day long with this. But let's go ahead and go to the next lesson, and what we're gonna do now is focused on making these Brit bricks pop out. Even Mawr eso. With that, let's move on to our next lesson. 9. L8 Adding More Texture to Our Brick Pattern for Our 2nd Example: you know, we'll go and try to separate these bricks more. So really, I think the mortar on these could be bigger or wider. I guess so. Basically, what I want to do now is bring out these even further by shading the right in the bottom of each break a little more heavily. So like if my late service was coming from over here, I also want to show you another need effect that I like to incorporate into mine. And that's like just drawn these half arcs or something and they don't have to be arcs. It could be angles, and they put little excess here. Shada men or whatever, and what you can ultimately do is just kind of make it a negative so you can shade through the break area and leave the mortar clear. And that's just kind of a neat little way to make the brick pattern a little bit more interesting. So obviously you could use this for effects, like there's a character against the wall when you're trying to, you know, isolate them, make them look like they're, you know, in the middle of a spotlight eso lots of fun things that you can do there with this technique, and it's pretty easy to do. You can also come back with these areas that air the same details disease and with a white out little, uh, little imperfections. So just think about that. But again, really easy to Dio will show that as it gets rendered out there, But again, our light sources this side in this kind of racks that way as well. So we just want to put a little bit heavier shading and shadows and imperfections and things like that on the one side of the break. So the side in the bottom, it was kind of again, be sporadic about this. It really changed the giver of all these straight lines. And when we do the soft race in the redraw, I'll make sure not to copy these straight lines, so they're kind of almost interfering at this point. They look like they're still part of the design, but you gotta look past those, and you also have to incorporate little bits of rendering, so the rendering could be right inside the break areas. Well, when I think it does is when you you know there's two ways to look at prime multiple ways, but a couple ways to look at the rendering, right? So you're rendering the edges. You're doing all this neat little designing stuff to the edges and all that, and that does one kind of effect. But when you go right through the middle of the area to me, it immediately makes the brick feel more rounded Mawr more dimensional. But if I only work on the perimeter shape, it flattens out. So I hope that makes sense here. But there's just something that I look at when I see no rendering styles that I like. You want to mix it up. You want to try some areas of the rendering, where it's on the interior of the service areas, and somewhere it's just on the outside, but very rarely just want to do one of the other. Unless it's a very simplistic style, then maybe, you know you're obviously going to do less rendering into a design. Um, you know, like area kind of style, like he like a Disney style. There's no world rendering to that. I mean, you could call the the coloring and the effects inside the line work wondering obviously, but, um, you know, it's a very light, airy vibe to the work. The kind of functions, more off line, wait clarity. Great expressions, obviously things like that. So, yeah, so just continuing to do this and probably time lapse here in a little bit because it's redundant. Although I'm doing I don't even think that I'm there's a rhyme or reason toe what I'm doing here, other than I'll know when I see it kind of thing. I'm just adding detail, you know, and kind of building up on top of it, Not afraid to draw different kinds of marks. Uh, see what I get. Yeah, it's just really just, uh, process of building upon this information. He's a little bit the lines here and there. The great Here's a good example. Look, all flat that looks. But if we had a nice, thick piece here, a piece there, little ending there, it totally changes that break and makes it start to look and feel like it's raising up. We combine that with a little bit of rendering some bigger imperfections in the middle. We're chip off the edge. I think that's another thing that really go back through and do is I render This is breakup a lot more. These edges makes it look more interesting again. We could have a nice big shadow coming off the edge of this break. Here. They can go right into the mortar as well. It doesn't need to just be the break could be kind of a combination cause we have to remember when things were raised up there not only shadowed from the area that we can see the edge that we can see. That's Basil. There's also some drop shadow in there that use of the one I kind of forget to add into my own work because I'm little bit apprehensive about shadows at times. But the more I do it, the more like I really got incorporate those drop shadows. If something's coming out towards the viewer, it's gonna cast a shadow on the thing that's receded into space. And it's really what we have to think about when we're doing this. We have to think about depth and dimension. You have to imagine this depth on the page. If not, we just won't draw, and I think that's probably the toughest part for people to wrap their head around is that they have to see this depth that isn't there. So our imaginations have to aid us in that process. And I think sometimes we just have to go overboard eso that we know we're to pull back. If you overdo it a couple times, so be it, and you'll learn where he went too far. Then you kind of pulled back on the reins and figure out where your you're safe areas what you're looking for anyways. So in shadows and perfections, bumpy edges so on and so forth, but hopefully you'll see the difference. This area here is starting to look a lot more interesting from the stone there. No, I will be honest to I've done this so many times where I would probably just Inc this But for the sake of explaining it and not jumping, you know, past anybody that's watching that maybe hasn't built up a certain amount of comfort with this. Then I want to show the way that I got better at it and this was that. But once you start to realize that a lot of this is random imperfections and you start to go, why am I really penciling all this? Couldn't have just I started taking this. I think I might get the same result and deliver on. There's I do lots of studies, so I don't just pretend that I might be able to do it that way. I basically do one this way and make it. Can I do one where I just think it to me? It's worth the time spent two to try that. And to do that study for myself, that experiment or whatever and then really prove to myself that I can make it, make it work and if it's not good enough that it's not good enough but uh, constantly exploring those types of, you know, situations in my work so that I can speed up or Matt get this stuff done faster and and figure out new ideas very important. And I think I'll just go in time lapses because again, it's it's really redundant, you know? So just to recap, Shadow picked the two sides These air, the two predominant sides, this kind of backwards L R l on its side. Those are the two sides. I'm shaving. I never break. But you could tell once I start to add the imperfections that blends a little bit more, but that's OK as well. I don't I don't mind that. But if I really want to beef these up, I just feel in some shadow into the mortar joint. Aiken bring these shadows up higher into the break. Since it's such a random thing, there's not really right a wrong way. So what I'll do is I'll time lapse now and render this even further due of soft to race in a redraw. But again, it's gonna be all the same information. So with that, let's move on to our next lesson. 10. L9 Adding Final Texture to Our Brick Pattern for Our 2nd Example: in this. Listen, we're gonna go in time lapses just because it's more repetitive texture ring that we've already done. We're also gonna incorporate some new shapes to break up the monotony of all this texture and pattern. So one of things I want to say when trying to create this stuff just really let go and start to doodle. I love putting on music and just drawing this type of stuff because you don't want to think too heavily about it. Uh, you don't want to be so deliver it with every line, so just really have fun with it. You just really have to practice with a variety of these effects to see what works well for each area within your work. Now, the other thing is this. Textures and patterns by themselves are okay, but they can still get brother boring. So this brick pattern to me, even though it's gets marries of interest, it's still pretty boring. It's still pretty flat. Even with all this texture, it's definitely not as flies. If it was just the pattern of the bricks, but still less interesting than I would like. So at this point in the illustration, I started thinking. I want to incorporate a little bit more for you to look at. One of the things that happens with Break is that it gets, you know, different calcium or mineral deposits. I believe it's lime, but you know, I'm an artist, not a bricklayer, So I'll just say that it's something like that. But you definitely see it on old break eso. There's lots of other imperfections. Obviously, you could even do growth as faras Viney plants growing up the side. That's a really need effect, and it adds, Ah, a lot more of a dynamic in a composition to the work. So after we get some of this breaking in place, the rest of the texture you see, even there, I'm changing some of the shape of the break, which I think also helps this again. You really want to try to fight the urge to make these all the same shape all the same size . And now that's what I'm trying to do there. And then here again, I'm rendering through the actual work, not afraid to just criss cross right through the lines and establish more texture. And this was that kind of overlay Ah, fact that I was talking about just another imperfection. Now I'll be honest. One of the great things about this technique that actually a lot of artists employ is it ends up being a huge time saver as well as making the artwork more interesting. Because again, if you just leave everything to repetitive patterns, then you're going to lose some interest and on like I said, likewise, it saves a tremendous amount of time because you're now able to incorporate stuff like this and draw through the area. And this is obviously a lot quicker to illustrate. As you'll see thin. The bricks are, but it's really the same concept. In fact, it could have been a lot more of an organic shape. I'm trying to curate angles in it because I wanted to look like a rocky or again a calcium buildup line buildup, whatever that material is, but just something that has kind of affected the brick over time and again, it makes it look more aged now, I believe Teoh. I've seen people do it where it's an end in. This is made to look like it's going over the break, but there's also a brick facades where the brick gets, Ah, broken away on. It might even be patchwork. So there's all different ways you could look at this stuff. So always be on the lookout for things that you can incorporate to these textured walls and things like that, that again help the narrative and make it more interesting so it could be boarded up windows. It could be a fire escape. It could be posters just randomly stuck to the wall with a corner kind of blowing in the wind. All that stuff will really help. So that will wrap up this part where we finished texture in this. Let's head over to the next lesson and continue to refine it. So what? That let's move on. 11. L10 Adding a Pipe to Our Brick Pattern for Our 2nd Example: - All right, So now we're gonna add a pipe through here. And I believe, by the way, I was doing some research that in what call is I believe this is lime. There was a couple of different deposits that might build up on breaking line. Was one of them. One thing I did notice, you know, again paying attention to reference here and there is it it's a lot more sporadic, and there's even a lot of smaller bits and pieces of it. So again, more opportunity kind of do that drop shadow to the one side and really break up the monotony of these shapes. You can obviously vary up the thickness and the indentations to the edge of even the overlap for here, so we'll show a little bit more, um, of that kind of ah effect that the one piece has over the other. That's really what you want to think about with all sorts of things you will get into, like illustrating arms and veins. And it's kind of that same thing where you really want to think about the effect that the next shape has over the underlying shapes. Likewise, you could say that some of these bricks are actually busted away, so you could create a negative pattern here and you would shade on the inside of the left side versus the right side here, and it would show the insect, and you'd also create the shadow here thicker and you would hear to show the death little things like that. But let's jump into adding this this pipe. So what I want first do is draw right down the middle and unfortunately end up covering up some of that detail that I just painstakingly put in there right. And I also want to avoid a tangent, if at all possible. Don't try to really stay off these edge lines, but I guess I could go right past, and there's no telling how big this pipe might be. So we'll just put it right through there. Go right past the line so we don't create that tangent. I'm also doing this freehand because although ah pipe is definitely mechanically engineered , you know there's gonna be imperfections in this as well. So let's start with this. Let's get some of this information out of here. Hopefully, I don't shed a tear on the page from the work I just wasted, but all that's gonna make it better. So with something like this, there's lots of ways you could really do this. But let's say that we have the pipe work comes up to here. Let's say that we're looking slightly to the bottom. We'll see some of the recess of the bottom. So the depth of the larger tubing, I guess. And what should really refer to this as, But you're gonna have a cylinder over a cylinder, essentially. So a couple little arcs here and transitions may be a yeah, kind of a neck or flans of some kind. And then up to the next segment, you could make this one below. Wider is General how they work, right? The one fitting will go inside the other. But again, if you don't have any kind of clue as to what these might look like, then you're just gonna look at reference. But I'm gonna keep this pretty simple for now. We can always elaborate further. The main thing I want to show you is it By implementing this shape, you do a couple things you and actually it's crooked there, So I'm gonna use a roller. But what you do is you basically create a more dynamic setting, you know, automatically because now you've got something else to put a shadow on. So you help really define that light source. By doing this, he basically just kind of trace the edge, and you also want to put it down. Most of you moved it down in a way just a little bit, so that really that really helps to convey where this light sources it won't actually move this line for us before I go too far. But just like that, you know, we can put some depth, make that feel like it's away from the wall and will continue to do that. But I need to fix the line here just a little bit skewed. So let's reset back. Exhale. Just nudge this line over. I think the reason that happens because I brought this line in. But I didn't bring this line in. So this kind of reinforces that idea that the the pipe of top is thinner than the one below . So not a problem. There probably had another lip here. So this is another thing you can kind of play around with it again. I'm not looking at reference. I probably should, but at the same time, E just wanted to see that if you keep adding like lips and edges to most things, you can generally make it look more realistic or more advanced or whatever. It works that way with windows and building tram. You don't always have the poor if and you can just me ever someone study reference. But you can just add a few little edges and use your eye. If it doesn't look right and you don't like it within your style, get it out of there. Also, I'm gonna jump right in here and add some texture just like we did with the the bricks. But what I want to try to do is add this texture and more linear fashion and parallel to the lines of created or vertical. I should say the lines have created and, uh, what else? We could put a little bit of shading to the other side as well. It doesn't have to all be to this one side, but it definitely needs to be predominantly to the side. I want this nice hefty shadow, Teoh push this away from the wall. So to give it that depth or illusion of depth eso lots of ways you could really interpret how you want to shave. This is well, you could bring some lines that are rounding with the form, so that's always helpful. You know, if you just kind of curve them a little bit around this cylindrical object, you could make it look a lot more rounded pretty quickly. Obviously got to make sure this other line of the brick doesn't intersect here. That's not gonna help sell the ideas. That and again, lots of imperfections. So we chip up the edges way put Nixon it, um, you want to really make sure toe not do the exact same kind of rendering? Hopefully or you have some little variations in here. But I think if we render these these curved lines, that will help give us that effect. We also might want to give it the look that it's got some staining. So to do that, we could do some of these rendering lines kind of dripping down. You could even put water drips on it. Maybe it's like a little bit of condensation to it. Or maybe there's a leak and there's a a bit of a drip on the stain coming out of it out of the bottom, where the the fitting would attach so all sorts of things that you can do. In fact, a lot of times what I'll do in my background illustrations is if I put something like this in there, how I will long have the bottom cracked open and same thing you could have a crack in the side of this, you know again is age. Did you want the same toe? Look, you're just gonna keep on noodling around with it. Probably even recommend a little bit of rendering even to this other side, even though we want the shadow side over here doesn't mean there can't be a little bit of rendering. Or definitely some pretty strong line waits to this other side again. We really want to just push this off the background anyway. That we can, and shadows and wondering are a great way to do that. We might also get to the bottom here, and, you know, light generally comes from the top, so you could do even a little bit of shadowing like that make it not look so flat. And I'm gonna rotate the page here now and do some of this rendering for his. So again, I really think that this will look good if I focus on rendering with shape, soars over, don't cover it So again, tapering the lines, kind of forming the lines or sculpting lines So they're a little bit picked it then. Just kind of the style I like So and what I'm imagining here. So that's what I'm gonna do over you. See that it will start to really pull us away. There's other ways you could do this like you could put a nice, heavy shadow, and you could purposely leave a highlight on the side of the the edge here, you know, right where I'm putting these lines that will also make it lift away from the page. It's not really look that I want to go for right now, but it's going to be aware there's lots of ways to develop this. I think that a big part of what you want to do is study the way other artists create their effects. But then think about them. You don't think outside of the box. Think about working worlds. Could I play that effect? Because a lot of stuff is very versatile. You just have to be creative in the way the implement it. Plus, it can be a great way to study for more advanced artists, but also changing in a way that helps you develop your own style. Again, these little dances things adds a little bit of flavor. People had a little bit of the rendering lines here as well. They don't all have to be even. I think I was trying to get those a little too even at first I thought, You know, I really don't have to do that on them Down here, there's it's more likely it's gonna be in shadow, but I don't want it all to be in shadow. But I do want there to be a bit of drop shadow below the connection point. So I just had a little bit of darker lines in there, agains more running over here, so on and so forth. And then I think even on this side I could just take some really light lines because I don't want it to be too confusing. I don't want to look like I'm, you know, maybe shading both sides. But I think it stands to reason that there could be a little bit of difference from this side to the other side. You know, maybe just just again, because I want to add in some little bit of cross hatching. But if I keep these lines very light, I don't think they hurt the design. And again, I wanna be okay with just drawing through this. Maybe even had other little pieces of this lime or whatever. Whatever mineral deposit this is on the brakes, you can cut back into here. Maybe there's a negative shape. I really have to fight the urge to keep them all rounded. I feel like I'm repeating that too much. So try to sculpt this shape and change it from something rounded because I feel like that rounded look doesn't convey what a master with this, uh, we gotta figure this deposit of, ah, lime or whatever it is, it just happens, you know, organically over time. And so it's gotta look like that. It can't look like it's too designed, I guess. Probably a good part to really scribble. Figure that out, scribble first and then make something out of the scribbles. That's words to live by. Yeah, just like that. I think that this adds a lot more of an interesting appeal. We get a little cross hatching in there, but it makes us a less boring brick wall just by adding this in this. So in, obviously a shadow. So once this is all inked and brought together, it can really start to look more impressive. All right, so wrap up this lesson here. Let's head over to the next life somewhere we're gonna soft to race and tighten up the work . So what? That Let's move on. 12. L11 Cleaning up the Line Work to Our Brick Pattern for Our 2nd Example: all right. And I actually just want to go and clean this up for you. So I was gonna move onto the next one, but I thought this is still pretty messy. Let me show you. How would take this one step further? It's going soft to race this. I tried to leave a lot of it on the pay zone because I don't want to read too much of that information. But I'm sure we can tighten up on this and make it a lot more impressive. Because again, just because I see it and go I could think that right now it doesn't mean that you particularly see the way it with Finnish shells. Let me show you an all time lapse. Some of this, because it's gonna be redundant. We're just gonna pick through this. All the information here is here. All the groundwork is in place. We're just gonna take more fine tip. You could sharpen the two millimeter lead, whatever you want to do. But I just use this fine points a bit darker lead, and that's a month. Tan did. I probably should work from this way over, but since all this is gonna be in shadow. And actually, I wanted toe show you that I would actually want to incorporate some rendering right here to break up this line as well. So I didn't feel like it was right tonight, Uh, not finish this piece here and for the shading and generally will take one of the bigger leads. These ones fill in a little bit quicker, but some of this gets left in translation because, or lost in translation, I should say, because again, when I would go to ink this, I would put a lot of negative lines, even, maybe little bits of the texture. What's kind of fun about this is you can really play around with that. No one that if worse comes to worse, you can just fill along with black so that ah alleviates your way of thinking, and then you can really experiment. One of the cool things that looks really neat inside of this area is when you'll see anchors flick white paint with a toothbrush or brush or toothpick, or there's all sorts of ways to do it. But, uh, it looks really cool. It just breaks up the black, and it helps incorporate some of that texture that even though it's not the same exact texture, it still looks better than no texture. So again, I would probably chisel off the lines as I do this. Break him up a bit, make that mortar look like it's ah, And if you make, the more they look like it's passing over one of the breaks. So this may look like a crack in the break book and also signify that the the mortar was kind of messy, and it's kind of seeped into the next break or something. Make sure wouldn't be right there. Cut that one back. Yeah, something like that. Just kind of get that into place. So let me do this because I don't again want to be too repetitive. I'm just gonna go through and tighten up this work. I'm gonna pick and choose things I'm gonna skip around. There's you're gonna see me leave parts. How I like to separate the lines. I think it looks a lot more interesting. So there's parts where I will beef up the shadow and there's parts will leave it out. And parts world just clean up what's already here? Eso It's time lapses and see what we get way. So hopefully you can see here that I was able to refine this and pull all of it together because of all the groundwork and light sketching and texture that we implemented in the previous lessons. And the things I want to pay attention to is that I'm not afraid to change the work. There's lots of areas where implemented change, and also I would convert things that were maybe a basic shadow, our basic line into a Siris of lines and broken up lines. So you want to really play around that, Because again, that's how you develop your style. So now let's move on to our next example. 13. L12 Rough Sketching the 3rd Example Arm and Chest: Okay, so now for this next example, we're gonna create a a, an arm and give it a couple different surfaces. I want to first start by telling you even the paper here's a little bit different. So let me just kind of go through the materials to make sure that you're on the same page. But I do want toe stress us. Each time I say this, I go to the materials a shift them a little bit to show you the variations and what I use. But remember that you can really comedy everything with just a good old fashioned pencil and some paper, and you're gonna try a different papers to see what you like. This is actually another Bristol board smooth. This is actually the back of ah, blue line Pro Product s. Oh, I like this one. A lots got a very dense field to the board, which gives me a nice, smooth line clarity. And I can erase a lot on this. Now for this example, I'm gonna do my best not to erase a whole lot. But the option is there. When I get into my more detailed works, that's generally what I find with mine, it doesn't have as much tooth. It's a Bristol board smooth again and more of a press board. I think it's a at least £100 may be greater than that, but the main thing is it. Like I said, the pencil clarity is very nice on it. No ankle hold out on me since I do primarily digital inks. But if it if I need Teoh Banks hold up really well on this as well. Now, as far as the pencils again, you can use anything Notice that I've brought into my favour, Castle Hope I'm saying that right? But the primary thing to watch out for really is that I usually go from two h right here to an HB. Okay, so it doesn't show that in here, But that's an HB lad, pretty sharp. And remember, that's a two millimeter lead holder. And then I brought in a to be just in case. I want a little bit of some final, darker lines and I'll show you how I do that. But primarily this is my go to stuff my really ugly Prisma color kneaded eraser as well. And so that again just to recap real quickly on the supplies, but let's jump in to developing this. So I'm gonna start with the harder lead, which would be the two h. And I'm gonna get my primary line on forms in place. So what I thought would be a fun little exercise and keep in mind, we're gonna get into the more advanced version of what? I'm going to show you right here. But for right now, I just want to focus on the rendering. But what I wanted to show you here is, and, you know, kind of an arm to the side, but we're gonna make it a little bit more interesting than just a boring old arm to the side. I remember you could start with just the lines I recommend and get your lengths right. I generally like to draw the forum a little bit longer. I kind of picture that when I raised my hand up to the shoulder, that's right about to the meeting. You know the point where I can reach over and scratch my back. So that's good. So right here A cylinder cylinder. I like to draw shoulders nice and big, so they look powerful enough to maneuver the arm. And what I thought would be fun here is kind of a little bit more of an eerie kind of monster hand, like something that's got, like, sharp fingers. Like doing that. A lot of my sketches here. We're not running out of paper help drive to slide this around. But I wanted to be a good size so I can show you how you know im clarity of how it renders . Unlike this spring, this one finger up higher. Remember, with fingers. It's good to just kind of like we did here, established the lengths and the directions and pay attention. Teoh. You know your hand poses. I often will take pictures of my own hand, just doing all kinds of crazy stuff and then I'll convert it to my own style. So we will talk about that on some lessons as well. But just like this, you know, kind of get some bone structure going on where the bones kind of converged back to, you know, general area like that in you can Also, another trick for fingers is to draw two segments first. All the way around is more of a gesture and then fill in that third segment. It's a little bit easier toe kind of wrap your mind around, then just trying to draw three segments every time it gets a bit confusing. Obviously, there are three segments to the fingers, but seems to be something that helps a lot of artists. Now, after we've got the basic lengths and you know these would be our basic forms really be shapes. And then as soon as you had this little dimensional look through of it, it becomes a form, and then we want to do is want to add the anatomy Now again, I made the hand pretty big. I could probably shift some of the proportions, but as I draw the anatomy over it, I'm going to make it a lot larger. So I'm just kind of kind of flesh out these forms. Get a try, setback there a bicep here. Remember that this is stylized anatomy. Okay, I want to stress that because I know people will look at my work at times ago. It's not really the way it looks, and that's fine. I'm going for a stylistic interpretation, will say. But, you know, I know a little bit about the anatomy, so I know that the risk, uh, I'll tell you some things that I look for as I do it. One things is the muscle on the bottom of the arm is more elongated, so it stretches from almost the very front and it dips back here, meets the elbow. The elbow is actually pretty pretty, a bony landmarks. You want to show that and, you know, you see the bone from the rest here kind of dips, and then the muscles kind of take over and these ones are made. I kind of fake these little bit. But again, it's stylized interpretation and these kind of stretch out, and I believe they control the digits, which are the fingers. So they go from here that kind of stretch out point towards that. And this is where it gets a little funky back here. There's a bunch of kind of things going on. I look for this V shape right here, and then this is actually the bone. But then there's muscles that kind of wrap through and around it, and I'll be honest. I add a couple more of segmentation is because I just think it looks can any So again, that's that whole stylistic decision making in the tricep. You know, I'd like to bring it out here kind of this weird shape, but it tucks back here, and then you get this muscle that goes over this way, the bicep. I tend to make that look overly exaggerated, so you'll see me kind of keep nudging these lines around because I'm going for, you know, just this kind of weird proportions. Almost, But it to me, it looks cooler. And then again, I like a pretty big, strong shoulder on my characters. The shoulders really widen out the characters. And if you're gonna do that from the front view, you obviously have to do that from the side view. And we even do a little bit of the chest or pectoral muscles if we want to be specific and accurate, I guess. And so what we're gonna do here is a little bit of this, even a little bit of the shoulder here. Mainly because I wanted to talk just a hair about how you know, if you draw this shoulder nice and massive, just show a little bit of it. over here. It's really easy. I see a lot of beginning artists. I want to draw this big shoulder, always popping out of no side. But we have to allow for four shortening. We're gonna talk more about four shortening as we go, so I don't want to jump the gun. But I just like toe it all ties together. So it's really tough to say, Well, let's stop here because it ties into the next thing on then also, I thought would be kind of fun. After get these general proportions down a little bit better, I think it would be kind of need to show some different materials. So popular thing in comics that we love to do a lot of characters have. This is metalized up parts, right arms and legs and bases and all kinds of crazy stuff. So when I thought we do is we'd mix up a few of these. We're gonna give him the monstrous long fingernails. Some like. That'll be fun, and we're also gonna do a suit design so we'll do like you know, he's a real popular V's W's and just angles really Angles Air Nice to on the suit designs because you're trying to incorporate, you know, some variety. It immediately makes it look a little bit cooler because you've already got all these organic anatomy shapes. So now you introduce some cool angles, and it just looks more impressive almost instantly. So what we'll do is we'll put a couple angles in there. We're gonna want to shift those lines. They shouldn't meet up right across even the chest here, right, because it's it's going, it's going to dip around, and that is going to come up in around. So if you're trying to be very, you know, accurate with their work again, you want to think about the spirit, Kal organic nature of everything that you're drawing over. It doesn't need to be too awfully intense there, but I just want there to be some separation in the suit design we could do. Let's see here, maybe a little spike off the back of the arm. I don't know like that will just will say this for now. And so what we have here is we've got some areas that we can now deliberately shade differently. That's what we want. We want to make sure that this all reads independently. It's It's very easy to want to just shade this all the same way. And although it might still look pretty cool, you're not gonna get the most out of it. In my opinion, my you know what I would do in my own comic work? So also because this part might be, you know, maybe a fleshy monster. And here's something we can do the veins and those are kind of fun to explains, will get a little bit of that in there. But notice now we've got a rough sketch in place on, and you know I did that all with later led. The benefits of this are that I can see through the work more I can build up and darkness on and work over this. I can soft erase us back, but it's so light it probably don't even need Teoh. So let's go ahead and stop here. We'll head over to the next lesson where we'll find some of these concepts will start to designate our light source so that we can get into the fun stuff, and that's rendering. So with that, let's move on to our next lesson 14. L13 Rendering the Metal Part of the Arm the 3rd Example Arm and Chest: All right, So now we're going to refine some of these concepts and one thing that I would see or think about here, I guess, is it generally if something's more metalized and it's probably not gonna look so organic, and you're going to see all this anatomy through here, But I'm actually gonna go ahead and do that anyways because one of things that's kind of neat about comics is that you don't have to the lion realism. You don't have to do what's actually out there. You can just be, you know, inventive. So what I'm gonna do is say, maybe this is a more organic anatomy or metalized anatomy like a liquid metal will just say like, uh, character that has a lot of flexibility, which would make more sense. Anyways, you want to make sure that they can be agile and all that fun stuff, but yes, what we're gonna do is draw the anatomy right through it. Now it makes the shading a little bit more complex. But I want to show you a way where you can kind of think about this and shading something with a chrome kind of effect isn't as hard as you might think, we kind of talked about it and the other lesson, and I figured I would elaborate on a little bit more. I thought this would allow us a little more opportunity, but right now I want to sculpt out some of these forms and using the darker led to kind of make my final decisions, shift some lines around and hopefully get to something that I feel is a little more ready for the next stage of the rendering. So again, some of this is just oddly placed anatomy. But I'm OK with that because I just want to go with what I think looks cool at the moment. And over time I will learn more about anatomy and correct things, I suppose. But I actually like a lot of styles were then. Anatomy isn't so correct. Just think it looks more inventive and imaginative, and that's what I'm after. So do it, whatever you think is best. But also, you know, don't take that as an understanding of like, you know, don't study anatomy story, Study anatomy You should always draw from life from figures in motion. You know, people in ah, combative sports or sports in general, you know, just pay attention to the way the body moves. But then don't be afraid to style ISAT and play around with the proportions, the forms, and do your own thing because it's how you grow. So all right, so I think a lot of this is pretty well in place where I can start to find it. We'll see me just bring out different shapes. I love sketching through and then coming back and finding what I think looks cool. That's a big part of the way I work. Uh, it's like a very rarely just have the exact picture in my mind. I have a general guideline, and then I start to sculpt and adjust it as I go so you can actually see me push lines back and forth and try different things as I go. Um, and I think for the most part of the fingers and and let me say to this is one of the reasons why I want to do this variation of something solid here kind of regular anatomy here. A little bit of a suit design there on then these creepy fingers because I want to be able Teoh show you where you want to use a very different, uh, kind of approaches toe the line making. So here I might even get a little bit more scribble lee or loose as just just a loose line , making many angles for the sharp, rigid parts of the fingers to make it look dangerous. So that's expect that line, language or shaped language, I should say at this point. And you know you're going to use sharp points to say dangerous and scary or whatever. So again that you want to think about this stuff as you're placing these forms in here in these lines, just like that, forgive us our shapes that we need again. We're gonna keep playing around this lines. We don't want them toe intersect in the middle of the chest like that, but all kind of adjust head as I go. Okay, so now let's get in here and define some of that light source. So we've reconfirmed the shapes. I think we're good to go there. And, uh, let's add some of the light source now. Okay, so now let's go ahead and continue on. Let's also bring in line when I had this information even back to here. And even though this is stylized anatomy, the top of the forum looks a bit strange to me here. So you'll see me keep not Jennet around, changing the form and at least trying to get to the best version of what I can. Eso making edits like that are extremely important and adjusting things get the most out of it. Okay, so now let's figure out where our light source would be. I want the light to hit the top of these areas, so we'll just say that it's gonna be top middle eso If I was to draw a line down, it's It's right up here hoping to see that on on the camera. There there's our light source, and again we could do a spherical thing and say that it's more or less, you know, on this side of the character, Um, yeah, I would say like more on the front side, so we could probably didn't start with one area and define it. So, for instance, what I want to show here also get rid of some of these sketch lines from our previous basic shapes. What kind of the beauty using that later ledge really don't have to get it out of there unless you just find it obstructive to your work. But I I don't mind it. Someone stuff is food for thought later. So But what I want to do is think about this shape by itself, for instance, and I'm going to picture the light source giving it a bit of a shadow. And I could really take this all different directions. But what I'm gonna do is just establish the horizon. So what this is is a reflectivity reflection of thea surrounding area inside this bit of chrome in the arm. So a couple things happened. You generally will get a, um a bit of fade that goes from dark to light like that sometimes get some swirling marks not always swirling. Sometimes it can just be like little shapes of anything. Really. Buildings, interior shots of the room depends on how detailed you want to get there. And there, they intend to notice, is just a little bit of a glare line at the top, so sort of where it rounds over. So it's kind of my repetitive process of creating a chrome like effect. And then I can elaborate. From there you can get into cross hatching. I can a race back. You find a smaller racer here. I can a race back just on edge so that it looks like the segment of the metal has a little bit of a Claire to the edge, and I can repeat that process. But each time, with each major segment of the arm, I'll think about the same pattern. Now, if this if these ah bits of anatomy weren't placed in, I would just jump through that and I would around this shade, this is just one big round even shape. But, like I said I thought would be interesting to kind of throwing some anatomy as well. So, again, this is that bit of horizon. There might be a little bit of kind of flips toe the line, little bit of variation there where you could do a straight line, maybe a little shadow under we could drop shadow under that, uh, segment of that muscle. Same thing. Drop shadow under here and maybe a little bit of that glare line. And I have to turn the page here just cause did you get the lines that I like, I need to pull this way and again, I'm gonna think about some lines speeding a couple of lines, going parallel with the muscle. Olympic That'll kind of do that there and again. A little bit of a glare line on the top of that muscle. I don't think I want to show it here. I can almost say that. You know, it's getting less light in this top on. This is a more dominant shape. This is definitely a more dominant shape. Again, I can put a nice, heavier drop shadow to really push that out. My and I'm just gonna repeat that process. Really? So lots of little segmentation ins. We can separate these now as it starts to get to the bottom as arm. We're just going to see more, more shadow anyways, So lots of ways to interpret this as well. Like, for instance, generally under this part of the arm, you'll see a pretty big, heavy drop shadow. Yes, I think so. So I bring that out on. I don't even know how I want to explain the the reflectivity in this area, but what I'll do is I'll put a glare line at the bottom. Another thing that tends to happen with reflective surfaces is they catch more bounce light , so bounce light is no lights. You got a picture lights going everywhere, even though you have a stronger light source in one area. You know, say, there's a surface under this arm. Almost any surface, I think, bounces light. But I see more reflective, more light on that's gonna bounce, and it's gonna hit the bottom of that area that gives you bounce light. So since this is a very speculator material, I'm going to be aware of that, and I'm going toe incorporate some of that there. I still want this to be, you know, pretty significantly shaded, because isn't shadow or more shadowed oven area? But I think to do that, I'll just bring some lines that are parallel to this part of the arm. Maybe taper those a little bit and maybe get a little bit thinner as I bring this way, some cross hatching again so many different ways you could really interpret that, but that's that's kind of what I'll use their can. I want some more of these segments and I also just want to see some stronger lines in place here to really bring this out. So it's got a kind of pinball around here and bring out some of these shapes. A way to hear is that reflective surface. It could also be more critical. This and I could even try toe wrap these around these. These lines here could wrap around each form a little bit better, but I'll just kind of what that let that be. I don't think that's very necessary. Can I can cross. That's a little bit here and there, leaving a little bit more edge relating to the bottom here. More line weight to the very bottom. Okay, when in doubt, you could really just kind of go crazy with these lines that haven't swirl. And it kind of looks crow me by itself. Random, thinner lines kind of swirling in and out of these other shapes. Okay, let's say it's good for this air. And now, and of course, when we come back, I always keep a finer racer on hand and come back and just erase some of this from the one side. It kind of gives that impression that the the material is has more segmentation there, reducing these lines here. And just like that, we've got a little bit more of a metalized field to that portion of the arm, and we'll keep rendering. This will keep adding more line. Weight will keep refining and committing to these ideas. So let's move on to our next lesson. Let's work on this upper portion of the arm talked a little bit about that, so with that, let's move on. 15. L14 Rendering the Upper Part of the Arm the 3rd Example Arm and Chest: parents and I will render some of this what I'm gonna consider It's gonna look a little bit more like skin as faras the shading method. But really, this is another material. So I just want to make sure that I render this different from this to this significantly. And the creepy handle even be a little bit different as well. But it would be more like the kind of organic, veiny imperfections or whatever, So this is a little bit more smooth. I also want to correct some of these lines as they go and one other they want to correct right here again, I want to always talk about corrections because I don't never feel like I'm done correcting things until I'm done with the peace entirely. But what I might do here is soft to race. This top line just feels very strange to me the way that it connects, what I want to try to do is bring out the more organic feel. So I wanna push this back one way. That anatomy always kind of resonates with me is rope drawing. So things should, like flow in and around to the next portion of the anatomy, So I just feel like that it didn't flow enough. And just by doing these overlapping lines like this, I feel like it'll read a little bit better. Like this one could flow upward. Mawr. This one could flow outward more things like that. So again, just want to show you them. Cancel trying to adjust and shift things on. The more you can do that in the later stages of the work, the better. But now let's get over to here and again. We want to establish our light source, and we've got all this to work from. But the main thing is that I want to explain with With anatomy like this is it. It's very easy to want to just draw through this and put rounded shapes everywhere. And I would say, for you know, for a beginner or you're probably beginning, I would say maybe intermediate. That's fine, but the problem is, is that there's so much more you can explain. With the anatomy, you can do a much better job if you simply shift it from one little curve to a couple compounding curves. So what I tend to think about is this the anatomy doesn't just round this way. It runs this way, and then certain areas will protrude up higher and some lower. So you have to think about a more dynamically than just a rounded shape. Because remember, whenever you're putting light and shadow to anything, you're trying to explain the form. So what I think tends to look better is to use a couple compounding shapes together. That's what I see here. You could say this is one shape ist another. That's 1/3 how everyone look at it. It's just a more organic flow to the shadow, so just play around that concept. So I want to race back these overly rounded lines because they might skew my way of thinking eso That's another thing. You know, sometimes you do want to get rid of some of these sketch lines if they're negatively impacting how you see the form so again, on the back of the tricep here, I want the shadow to be predominantly on the lower side of it. But I also want to try to sculpt this shadow, explain it a little bit better than just a, um, curved line. You can also stop the edges more properly and let the rendering do the work there. So they you don't get in the habit of finishing everything with a sharp point with shadows . I think that's a little bit less likely to occur. They're not generally sharp point to me again. This could all be style you could definitely use Sharp Point. Just say That's it's my style. That's what I like, So that's fine as well, But and then also you want to think about drop shadows so you could incorporate this shadow here, and it looks like there's a line there, but we could easily do away with that as we fill this in. Or we could let the solid chateau be here, and we could do some little rendering here to show that it it's using its leaving a cash shadow on the next portion of the arm. Another way I like to think about these shadows is just connecting shapes, so I might start with one shape, and I definitely want there to be a pretty heavy shadow at the bottom of this portion of the deltoid because I want to explain. This shape is being very pronounced this way. So to do that. I'm gonna put a pretty heavy shadow at the bottom and separate it from the bicep tricep area. And again, I can think about any kind of cash shadow that it may create began. So their muscles, it was kind of connecting these lines or shapes of shadow. So again, even though these lines are left in there, I actually imagine these all connected. But I like to draw them. Is smaller pieces to the whole. I tend to find that to be a little bit easier. Maybe a large portion of the back and shadow. This could all be in shadow. Maybe leave a small, uh, opening and put some line work in there Show that's on shadow. I could show the segmentation of the try this up a little bit better here again. I kind of perceived that there would be cash shadow from that deltoid on to try separate there. And if I really wanted to showcase some of this, you know, detail the back, the arm there, I could just do some negative lines. But I don't know that well, even need it. We'll see. Or again, I could make this solid, and I could do some cross hatching right there. Number of ways to really play around this I can also put a little bit of edge waiting so I could kind of make the argument that this material is a little bit more speculator, even like when you're doing skin. This isn't gonna be skin this case, but just clear where even skin is pretty speculator. So there's put clear lines on on it. If you need to have, even if its skin, so can we use that line Way to really make this more pronounced? This won't be line weight because it will be in shadow. I feel like this needs to be a bit wider, so scope that a little bit more. Just live small segmentation here. The rendering should bring that together. So basically, all this being shadow, I think all that would look better and shadows just kind of feeling that end and check in the work. And I think what's so neat about incorporating shadows like this, it really makes the forms start to feel more dimensional and more weighted. It gives them more predominant presence on the page. Remember, you can also race back portions of the line work, trying to trace every shape again. The rendering will kind of fill in some of that as well, so I probably already have too much of it traced in. And then the thing that I'm not liking here on, I might be able to correct that with the rendering. But I just want to be aware of it is it feels too bubbly. Okay? And that's really where you want to fight these curved, overly curved line to really try toe, sculpt these shapes and be a little bit more inventive with it, because it's very easy to make everything look like a bowling ball or balloon. And that's what we want here. Wanna. I want to make it look more like anatomy and obviously studying from life and paying attention to how the shapes of shadows work on Ah, figure will help you. But then also play around with your own style and change those shapes. Wait, is that I think the rendering will kind of repair what I'm seeing here. I'm still not sure if I want the shadow there. I think I do, but I kind of play around with that as well. Okay, So now let's move over here. We're going to say that all this is the same um, material. So it's just put again with the pictorial muscle to be pretty, pretty strong, pretty heavy. So it put a nice big shadow to the piece like that. We'll put some shadows from the top section of the abdominal muscles so that it pushes out the the sternum. There, the center of the chest refuses a little access to remember where at. It's like a bad like that. It's kind of go around each one of these forms, see which ones you want to elaborate on. Then, for this kind of V shaped that's going through the chest and around the anatomy. Think of something a bit more filled in, so a darker material. So what I'll do is I'll actually filling more of this kind of the same process. And I could even do something, you know, maybe, ah in effect to it. So what I'll do is I'll put this in shadow from this last little bit a crosshatch differently. Maybe I'll keep that. Maybe I won't. But what I'm trying to do is just make sure that whatever I do here. It's breed differently than the rest of the suit design. And as I go to render it all even render it differently. Just don't a couple little dashes toe, you know, keep my thoughts on the page. Yes, something like this. And maybe as it gets over to the segmentation here, maybe you see just a little bit of the segmentation, but not much again this opening for that other kind of rendering. But I don't know if I like, but I'm just experimenting right now with the idea. The predominant thing that I want to have happened in this portion of the work is that it reads, has a different material, a darker material. So I think the main thing is that you're trying to convey when doing this stuff is how dark is the material? How speculators, the material Andi was a textured or smooth things like that. So can or dominating area and shadow this being the light source also fight the urge to ah , making even lines off the with is the same appears that is down here. It flattens out with this shape reads like so I want to make sure to have it wider at the top, There at the bottom. I think that explains, uh, the deltoid. That area the deltoid better. Same thing here. I think that it could shift like this and then for get rid of my little note there for this next one. This is the most predominant area of it. I think that will just will shift that, But we'll make it wider. Hopefully that describes that form. Stay here. And then again, as it passes over to this side, we could do a little bit of that cross hatching. So it meets the next segmentation another shadow in another little bit of edge lighting her room leading. And so all this isn't shadow here. This would be crosshatched. And again, I'm still not sure that I'm really committed to that portion of it. But that's why you see me drawing lightly, and that's why you see me experimenting a little bit. But the main thing is, like I mentioned is that they read independently from one another, so this again still need a few more shadows up here. But I think we got enough on the page where we I can understand what these air gonna be. See, I'm keeping a kind of scratchy kind of lose. And so let's do this. Let's stop right here. Let's move over to the next lesson. It will now add some rendering. So by that I mean cross hatching to these areas and develop it even further. So what? That let's move on to our next lesson. 16. L15 Crosshatching the Upper Part of the Arm the 3rd Example Arm and Chest: No, Go ahead and apply some rendering to this some cross hatching. So we've got our base shadows and place. You know, obviously we could modify those. You can just kind of sculpt into the existing shape and at angles to shift the shapes of again. They don't here. Just so smooth. Sometimes this little bumps make him look a little bit more natural than what we've got here. But I'm also gonna try to correct this with rendering. So she only just change. Always go for the thing that bothers me the most. Be these two lines resource back. I'm just gonna try toe purposely make these appear, well, different. And they are again. That one little curve doesn't it Doesn't feel like it explains that shape. Farewell. I also feel like even this area right here is kind of negatively impacting that. I can always drop that and with rendering as well. So I kind of like the shapes that I'm getting right here, even though they're probably not as realistic. But stylistically, I think I like him. So I'm gonna leave him in there and here. Just gonna bring this back more then kind of England up so just little changes like that just to play around concepts he have. Hopefully it does anything for it. I also feel like this line goes to straight up. I think it needs to go back this way a bit more. Get this right out of there. Let's try something like that. So always at it always. Ah, try to get the best out of the work. Another good technique or love is a technique or just something that a lot of artists do. And it works. I would consider it to take me curious, but just get up, walk away from the work and then come back and revisit it with fresh eyes. Makes a world of difference. Sometimes we get used to looking at it now through the whole creative process, and then we can't really spot the flaws. Okay, so now I want to start rendering this and just gonna sculpt these lines. Take the 10 and I just want to help to round about these forms. Yeah, add some. Some need effects to it as I go. So for me, rendering is kind of dual purpose. It's like it, you know, obviously makes the forms more three dimensional on the page, which is definitely what I'm after. But it's also I consider it, like signing your name. It's like showing it your style and your way of doing things, your interpretation of whatever it is you're doing. And I think a lot of people really enjoy that. And I think that it shows in your work. If you really have fun with that aspect of it, versus maybe you just throw whatever out there just to get it done. I don't imagine many artists to that. I'm sure everybody tries to get the best out of their work, But I think that enjoying the way that you put your style end of things is a lot more important. Then, uh, people give credit for So it's I always look at that versus thinking Well, somebody can't draw this particular thing. I imagine while what if that's just their vision on it, and either appreciate it or you don't. But we do have to remember, style is basically the icing on the cake. So for it to work really well, we still have to get the fundamental knowledge and place, you know, drawing forms that look like the occupy space, good understanding of light and shadow. But then once you start to get more confident with those things, your style can really push it to that next level. So I also like to turn the page as I do this and knows I'm trying to put little bits of curvature into these lines. Move my and out of the way a bit more. I'm just trying to kind of curve those lines as they go around this muscle. I think that helps explain the form. And then I'm tapering those lines. So pick that, then. One of the reasons why I like doing that is because then when I come back and I throw in some lines that don't have any taper, they read well together to kind of they're more more effective because of that. But if I did everything just with, you know, non weighted lines, I think it would really flat Now would be less less fun to look at. Okay, so in this area, I'm gonna bring some shading up this way and then up this way, least that's my thought process going in. So this is kind of what I was talking about with. It's not just the shape of shadow, the shape of shadows, definitely very important. And you want Teoh constantly try different ways of doing that. But you're also going to sculpt that shape of shadow with your rendering. And I don't always make him entirely the Samos faras. I could easily say, Well, I'm just gonna do this entire distinct line that go that coincides with the shape of shadow and I don't do that. I don't know that I like that right there. But I'm gonna do this part here and I might go back and edit it. I can just picked up the lines kind of meeting up to this point with this larger shadow goes up and then here I think I will break up this line a couple smaller segments like that , and you have not not digging that first part right there. So get that out of there. I thought I would like that more, and I think what I'll do is bring it up a little bit more on an angle like this, and I can't even bring those into the other lines. So and I think I'll bring this part down and just have it blend off a little bit. I think I like that better. So lots of different ways you could play around and add this portion this bit of, ah, rendering into your work. Um, I also in the Notorious returning My page, feels to me do that quite a bit. I feel like I'm a bit faster when I am pointing Thea penciled down towards myself. So that's where you seem to do that and pull some lines up this way, maybe one or two off the back here. So hopefully you see that as I start to do this, it really rounds out the flat edge. And that's really what I'm trying to do. I'm trying to soften up all these harsh edges while adding a little bit more dimension to this in this arm like here. This needs either come up over more and or a few more line breaks, but really want to fight the urge to connect that. So I think I'm gonna pull that back only a little bit of, you know, like Gap threw there. Okay, what else? I still feel like this needs to be shaded. Let's try and pull in some lines this way. Yeah, I don't think I like that either. So that's quite racist back. You're probably thinking, goodness, don't you know what you're doing? But, uh, you know what? This is part of my process trial in there and I want to be honest and share that with you because I can edit out my errors and just say everything went to perfection quite quickly. But that wouldn't be true. Toe the way actually created. So it's good that you see the real deal. I think a lot of artists air too fearful of showing their mistakes, they only one show their success stories. I that's have just artist. That's life in general. But you learn the most through your mistakes, really. I mean, you learn a lot from your mistakes. I should say that. I don't know if it's the most, but they're important. See, like right here, I just feel like what's happening is the tricep should be higher, but I'm gonna go and go with it. I don't think it's a deal breaker. I think it'll still look pretty cool when I'm done. So what I do here is just render through this at some or line variation, and we're still going to do a softer race and redraw this anyways just to kind of clean everything up. So another thing that I try to do his be aware of certain things that that I could just fix in the next stage of the work, and I think that comes with a little bit of confidence building that you have to do. But it saves you some time because if not, hey my city and just keep revisiting the same areas over and over again, looking for some sort of perfection. And I've kind of come to grips as an artist that perfection doesn't exist and it's kind of a lost cause. You don't even want to shoot for an idea of perfection. You wanna you want to just enjoy what you're doing and create. You get better over time anyway, so why stress over it? If you're here practicing now, then that's all that matters. That's the That's the hard part. Okay, so, yeah, I still feel like the transition here is gonna be a bit funky, so let me try Change in the shape of the shoulder and the way that it connects here. There's something more like that that looks a little more natural. And as I think I previously mentioned, too, he had also test out to shading right through the middle of something. So, for instance, we've stayed to the edges of all of us, which isn't necessarily bad. But sometimes it also adds a nice little a bit of information to go right through the side and, you know, kind of shade like this. So again, if you're new to that, you're not sure if you like that, just test it out with some very light line making, and that allows you to kind of see if you like it. So we've got a pretty heavy shadow off the shoulder. Here, bring that out. Actually, I think I want extend these lines further and also crosshatch this. You take a page, do this one. - Okay . And in privacy, um, you know, that's where I'm imagine light stopping or fading off into Ah, the brighter light source of this material. And back here, I think when you some heavier lines because I really want this to be shaded. Actually, we'll we'll show you here. Is that another thing to practice is that you can put cross hatching multiple ways. So you know this would be the first love of cross hatching like that. That's fine. And then you can also go one more time over it. I think what generally looks better is if each Siris of lines are a little bit different and wait. They read a little bit more independently, not a hard roll. Not anything you have toe do exactly, but to something I tend to notice within my own work. But let's go and wrap up right here. We still get some more to do, so we'll have to kind of consider this apart to I want to render through the rest of this area. And I also want to refine the way this shape is going around. You see, I did it too, not linear, but two straight compared to what the anatomy is doing. So we need toe correct that So it looks a little more effective. Eso what? That Let's move on to our next lesson 17. L16 Crosshatching the Upper Part of the Arm the 3rd Example Arm and Chest Part 2: So this part here, I believe, should round out. We could make the argument that it runs out with each main portion of the deltoid, but I think the most significant portion it should show is from the main muscle groups. So we'll say the shoulder and needs to dip down, kind of come back up chest, probably more significant bend. And then on this side. It just shouldn't lineup could be lower higher. I want to say higher, and then it should be a more significant bend the other way and then repeat that process the other way like that. So and I would say the top and bottom. But it's just something to be aware of that little things like that can make a big difference on what a in effect might look like on a character. And I mean, it makes it read more dimensionally with very little effort. So same thing with the back of the shoulder here, it should dip down, and it just shouldn't start from that exact point. Um, I think would be lower because the object here the shoulder is more in the foreground, so it's gonna be closer to the viewer so that should mean that the next piece would be lower. So actually, I think the chest would be lower. Got a higher over here. So it's just that posted over here and again, the band of the line tells a lot. So one of the things that will help it, Teoh look and read more effectively is when you draw this character, say, from a straight on shot and then one from an angle. You show these curves and then immediately it's going to show that these these forms of the character more massive and rounded, more muscular, whatever. So there's always that comparison thing that you want to be aware of and be looking at as you create this stuff. Also, we got a drop in lime wait line. Weight is another great way, sometimes in certain styles, the only way to convey these shapes. We have to do an example of that as well, because in a lighter area style, you do less of this rendering right you doom or just lie in wait and you always hear me refer to Disney When when I talk about that because I love studying Disney characters, it's one of things I do to get better at expressions. If the best expressions they you know, they put a lot of effort into the expressiveness and the emotion of their characters. Eso I tell any young artists if they want to get better expressions, then they need to draw more Disney characters, even their three D characters just so expressive. And he and they put a lot of time and effort into that. Okay, so let's say that that gets us really need for most of this. You know, again, we're gonna take this and we're just gonna add these little kind of spikes so that it reads differently than the other areas. Even if it's ever so slightly, you know, helps to show that this is a different material. That's what we want and then back to the chest here, and we'll use his longer tapered lines. Another thing I like to do sometimes is kind of step inside of where the lines are starting to fade off. Do these little points that come off, but I think that's another little phone stylistic choice. The tricky part two is when you do this is being consistent and going through all these various materials keeping that continuity. But it's ah seems to pay off. It seems to be worth it when you're trying to explain complex scene. I just think that when you when you illustrate and you get in the habit of giving everything the same texture, he just take away so much of the idea of what can be expressed in that scene. In fact, I prefer styles that are messy, but they do a lot of different kind of messy behavior in their work, their land work. I prefer that over a very clean style, with lack of expression and what they have a kind of, uh, you know, even if it's extremely clean. If it's not executed well. But cleanliness the line work won't make up for I'm not explaining in the various services as well as they could or the you know good examples. If you take a character and you draw this amazing character with lackluster back home, you can get away with that a few times. But at some point, people will start thinking wallet. This person cannot draw backgrounds or their backgrounds blend with their characters. There's no separation there when all you really have to do is create different textures for your backgrounds or shapes of shadows to separate the character from the background. It's actually pretty amazing what you can do just by texturizing certain areas compared to , you know, detailing everything. If you detail everything all over the place all the same way, then it's going that's gonna ruin it. It's gonna flatten it right now. Okay, So for the stomach here, I'm actually gonna bring some tapered lines down this way and again. This is another area where I'm trying to show the separation of the plane change so the stomach muscles are obviously rounded abdominal muscles. But what I want to do here is separate this plane change from this area. So, you know, leaving this bright white in shading this the way that I have points the focal point of this area right there. So just being aware of little things like that, I think it helps because again, I could just shade and change it all through here and try to pack in the detail on impress my viewer with that. But it's knowing when to omit detail in certain areas as well. So contrast can be a very powerful thing, and I think that's important because as you learn to cross edge as you learn to shade is you learned the texture. It's very important that you realize that just the mere act of it everywhere won't make the difference. It won't make your art really impressive, but knowing when to use it when not to use it is very important. And again, contrast can really drive focal points so you can push a viewer's eye through the page with the way that use contrast. And you can definitely propel things forward on the page and, you know, back on the page and things like that. So you always keep an eye on the way. You use your contrast in your details Now, one book I have to strongly recommend, um, that I, I swear by eyes will any of the books by Burn Hogarth amazing artists. He was a fantastic instructor, and it's some of the, you know, the great books that I learned from growing up, So I definitely recommend his books. So yes, Oh, no. Let's jump back down into here and just tighten up a little bit of this line work that's were using a little bit darker lead now on. I might just try to refined this with with adding darker lead and not not soft racing. Also. Well, it comes out as I continue this, but I think it's starting to read accurately enough where I could just add in some darker lines. Um, but just like this, where me turn this. We want to bring this nice, heavy dark line right to the bottom of the arm here, and it will. It'll do a couple things. It will bring the forum closer to the viewer, and it will make it more pronounced as an, you know, larger, stronger form to the viewers. So began It brings it closer and it makes it more dominant. So you want to really think about that when you utilize your line? Wait. So grab one of my darker leads here. Let's say to be you see that just by darkening up this line makes it more pronounced and brings it closer? No, A lot of people might look at that and go. Why would you do that? It's just pencils, right? You gotta in kitchen. Well, if you hand this off to an anchor, and you show these more pronounced lines in a darker lead. It shows him where they have to take. It gives him a very clear idea of what you're trying to express, so they might take it a step further and make these lines speaker. Or render him in a way where they were even more pronounced because they can definitely see that your goal is to make visits. Stand out more than this. But I generally will go around most portions off the character with the darker line. But there are areas world specifically tried. Teoh embellish it and bring it out more with the darker lead. You do have to be careful when you're you start using this softer lead. You're not dry dragging your hand through it, so I will start to use this more. I'll actually get a piece of paper and place that under my drawing hand. Okay, so now let's head over to the next lesson and we will tighten up on the hand and render out this creepy hand as it is and talk about that. So with that, let's move on to our next lesson. 18. L17 Shading the Creepy Hand the 3rd Example Arm and Chest: All right, So now let's render this creepy hand and actually let me sketch in a few more lines. So the main thing I'm thinking about here is that I want thes veins to go over top of the bones. Right. So look down at your own hand, hopefully have a creepy hand, and then it'll be easier for you. No, I don't hope you have a creepy. And but luckily I dio I've got a pretty, pretty veiny hand. Aiken, move those around and see that. Is that a reference? So I'm lucky there, whatever creepy and b a So you just want to draw those bones in. And so you get this nice, big being that goes over top. I'm obviously gonna embellish this and make it look a bit more stylized and rendered in visible than my own. But that's that's kind of what you need to do with anything. You just kind of look at what's around you. And then you implements style and make it way more distinct. So come on. Do is just get in some of these shapes. I want to see some shadows to the side. To these. I want to show the way the shadow effects the pocket in between the bones and then the way the vein casts a shadow onto the bones and again in that pocket. So it's kind of like this dipping back and forth. You know this a little higher point from where the bone is deeper recess probable, back in the other direction with that shadow, so on and so forth and then omitting some of that information. So you wanna let the areas that air the light's hitting be less affected by it, and you could really take that as far as you want. So, for instance, you could say, Well, this hand is very creepy and has indented wrinkles in between the bones, you know, whatever you can imagine or more veins and more imperfections. So it's again. It's kind of neat to play around this stuff and see we come up with a love texture ring. I love making things that air not, ah, definitely not realistic. Like you look at him and go well, that's just strange and different. The beauty of this and doing that is that you don't have to really be correct and would be very, very imaginative which is just fun. So again throwing lots of light, little scribbles just to get the idea is flourishing. No wrinkles around the nails. But if you want to do there may see like you want the wrinkles around the knuckles. I'm just kind of throwing in sketched lines back and forth just to get the ball rolling. And then back here on the pads of the hands, I could do no small wrinkles coming up. I can put like an extra bump right here, so the hand doesn't look Teoh. No, it looks too overly smooth, but it doesn't look like your hand because, I mean, if you pay attention, even your own hand, it probably has a couple little bumps and curves in there somewhere. Well, this is a creepy creature hand, right? So it's gotta have more bumps and curves unless, or at least you know the way I see it. So wrinkles here more of those little shadows texture. Don't be afraid to scribble right through it. If you need that, uh, a little bit of extra line work to playoff. There's nothing wrong with that. I've actually had an extra knuckle air extra bend in the finger. So that's really where I mentioned before. It's better to actually draw your fingers in with two segments, you know, so I wouldn't want here in here and then add that last one. I think what it does that allows you to worry more about the gesture and the flow that the fingers generally take on then adding that last little segment isn't isn't too hard anyways , but a big part of getting hands right is having some kind of flow toe what they really look like. We're just very good at pinpointing incorrect things that look, um, something's not right special with hands because we look at hands not as much as a face. But it's probably the next thing that we look at the most cause. People talk so much with their hands. So it's definitely the face first eyes and then we work out from there. So I think I think hands would be another one that people look at more when there not comfortable with the person they're talking to. I could be wrong there. There's probably some psychology to that I'm not aware of, but I know that the eyes are generally the most identified with. So spend the most time on your faces. I was saying Okay, so just like that, and probably throwing some light little sketch lines here and there to kind of make it feel a little more organic, can being okay with drawn right through the forms and wrote those concepts. Okay. And I think what we'll do here is actually softer race. I know when a softer is this part, we draw through it one more time, kind of commit to the ideas. I'm almost thinking I can get away and just dark and some of these areas I like a lot of the shapes and I'm seeing in here, but I would soft to raise this again if there was anything I really felt the need to correct. Now, since this is a lot of fluid kind of line work and just a little bit a cross hatching embassy, I think I could get away with just making some choices by darkening that up. So back to the trustee kneaded eraser will stretch this out, which cleans it. And then I will soft to raise this hand and try to make it more concise. Well, just like that second glance over that push that information back or make it later on the page, you know, center and see again. And then I'm gonna pick a little bit darker. Led a prayer with my technical pencil in this one. So this HB lead and what I want to do here is just getting here and finalized ideas. You see, I've got lots of little sketch lands there, very scratchy, very loose to interpretation. But the trick is here is to pick the line and then place it back in with confidence. So what happens is if you just keep sketching over and over again, don't make any decisions. You know, you kind of fall flight kind of. So it's just not getting it, you know, But really, a lot of times as you just have to put confident lines in so it doesn't mean that these air the right lines, it doesn't mean that this is gonna come out great. But what I'm saying is you slowly have to clean up the work as you know, lots of different ways to look at that. You could say, Well, I take three revisions, perform ready to finally clean up my words. Or you could say I don't ever go for a very clean style or I go draw, write with ink and I go right to my style like, uh, some very popular famous artists dio one. I can't remember. Somebody's is amazing draws write with ink, and I'm sure there's a few out there. But but the thing is that you have to figure out what your process for that me. It's generally two times, maybe three if it's something I'm really struggling with. But again, if I'm not getting it right, I don't allow myself to keep re doing and redoing until I think I get it right now. The reason being is I've had to work on deadlines. I would be store boards, comics, things like that. And I would have never met those deadlines had I thought that way. So I really try to recommend people that they're okay with weather at today, but they just finished their work to get their work done. For instance, if you make this truly gorgeous piece, but it takes you a year six months even, I mean, I'm sure there's some artists that do that, but I would imagine that's going to be pretty hard to make a living at, Mr. Just You do these amazing, exceptional works of art that cell for her in this amount of money. So it's good to be realistic about that. You know, whatever your situation is and say no, you know, I have to complete, uh, this peace within this, given amount of time she needed this all needs to be the same segment again. I give you this picture an extra segment, then I will fix that. So, yes. So be okay with flaws in your work. Obviously. Correct what you need, Teoh. We have 123 tackles. That looks like 1/4 with the way this has been, um, but alone. Yeah, awesome imperfections. And there's a lot of styles. Were the imperfections come across really well? And I don't even know if you call in their perfections because the stuff so imaginative it so creatively driven for it to be an imperfection, it would seem like good have to be a portrait or something. If you could even classify anything. Those imperfections, I guess if they just really didn't look like individual, right? So back on this side. I want to really focus on the line. Wait. I want to remember to get in these bumps for the veins because it had so much more to the vein. As you move this way, I also want to fight the urge to make these veins clean and straight and even the same thickness again. Try to look around. You try to look at your reference. Veins are very, very organic, and they have lots of variation. And again, we're gonna take that a step further because we're creating comics. So we're gonna create more variation. We're gonna take that, and we're gonna make it mawr distorted and stylized and fun and stuff like them. So pretty, something like that. And as we render this will just render one side like those. And while Mitt sheeting on the other side, that will help to push this shape away from those bones. Even the rendering you can have areas that are rendered higher and lower, and that will give it that high and low into the effect of what you're looking at. Even those little tiny rendering lines, uh, need variation. I think the knuckle here he would be insect from the side of the hand of this view, it's more shadow kind of draw these diamond shapes and then really, there's like this little bump on top and you're trying to get it more realistic was like a line that goes right to the middle and on the top You got me running over here Shape shadow right here. A little bit of rendering. Nothing I like to do with the knuckles is as they curve away, like to just shake him a little bit to really bring out that plane. Change the orientation change if you call it Plain Chain. That simply would still be a plan. Change my dark up, the nail hair, bringing some rendering lines off, tip of finger. Everything down here. I just think it looks kind of cool to darken. The meals like that can bring out the plane, change even the side of the fingers. You can put these little lines going down inside this way, and it kind of shifts that shape just a little bit. It makes it look a little bit more dimensional and the fingers air kind of weird, but I actually like it. Some believe it I could obviously correct that right now, but I wanted to give a little bit of an eeriness. So for me, more distortion makes something look more area. So I'm not gonna worry about fixing that and more sheeting on this one side. You should also probably get a little bit thinner as they meet back in the hand. And they should also fade off as they go back here. And for this part of the thumb, I think I'll just kind of hide it back there. She had a bag, so it's almost like a little silhouette back there. I feel like it needs a bit more been. Know that knuckle another thing, too. When you're doing this, you could have just tiny little dots from Perfections. There's just really no right or wrong way for texture and imperfections, but it does a lot for things that you want to appear fleshy and organic, and, you know, it's just throwing like tiny little dashes and lines and break it up. We play around that concept, but at the end of the day, we're just trying to make it look different than that. So that's it. Let's bring this over to the next lesson and wrap this up 19. L18 Cleaning up the Line Work on the 3rd Example Arm and Chest: Okay, so now we're going to refine this again and tighten up our line work and make some final decisions about you know, the forms that are in place. The rendering is going to stay pretty much the same. I'm just going to sculpt a little bit. Eso I will make changes if I see something better as I'm doing this. But this is really about tightening up the line work and again committing to the ideas that have already been implemented in the sketch, some weight shift, like the angles of the crosshatch or dark in some effects and some shapes of shadows, things like that. But pretty much it's already in place. This is almost like me thinking the work in a sense, because really the same approach I would take if I was to think it. But I really like tightening up the line work and making sure that these are all things that I want to see with the design. So some other things I just want to express because again, this is a little bit redundant. As Faras, you've already seen this portion. You know what I'm doing here, but I want to just make sure that in some closing thoughts that I say some things that maybe I'm gonna reiterate or I've already spoke about. I'm reiterating now, but I just want to make sure to hit these things home. You know, make sure to use lots of line variation to create more. Expect expressive art and being strategic with your details and control the focal points. So again, not don't detail everywhere all the time, just for the sake of detail ing and keep the lines loose until you're confident what you want to see on the page. That also means keep the lines light, so draw with light lead. Really, allow yourself to catch up. Allow your imagination to catch up to what you want to see and then express it. But if you move too fast for you, commit to concepts too early. You ultimately might not really like it later. It's like that part where I told you about getting up and coming back to your work with a fresh set of eyes. You'll see I end up changing the fingers for the same reason. I thought they were fine, but as I came back they're just crooked and it's too crooked for me to feel okay with it on . That's our own personal decision each time, because again we're drawing imaginative stuff. But if it's wrong and you know it's wrong, it feels wrong. You have to try to correct it, but at the end of the day, if you can't correct it, it's still better that you finish your work and keep producing and grow through the long term. Make sure to use organic and angular alliance to sculpt the anatomy. That gives you a nice variation that works with almost anything. But it's very, I think, very effective and comic book anatomy Study from life, but run it through your own creative filter. I really think that's a good thing, like you don't need to hold yourself accountable to know what everything looks like on this planet. That's what Google's for. That's what references for. But as long as you learn to take it and not trace it or copy it but rather learn from it and run it through your own creative, imaginative filter imagination, then you're gonna have no shortage of ideas, and your work's gonna just thrive because of it. And just remember perfection doesn't exist. Just keep creating the art that you love. That's the main thing. Perfection will hold you back. It will make you think that you're not good enough. You know, comparing yourself will do the same thing till the artists that you have no way to know where they're at and what they've been through. The main thing is that you just keep creating the fact that you're here listening me and you're on the right track. You just keep on work and keep on creating and enjoy what you do. Love what you create because it will show in your work. And not only that, it will fuel you. So if you're excited about what you're doing, you're passionate about what you're doing. You won't tire of it. Therefore, your chances for success are greatly multiplied on again. The people that view your work we'll see that you're excited that you love it. But it shows in your work. It means so much. I really can't stress that enough. So make sure it's something you want to do that almost think of it like I would do it no matter you know, no matter what. Like if somebody paid mere. They didn't. I would do it because I love it that much. That's kind of the thought process you have to have going in. It doesn't necessarily mean you need to be a starving artist. I don't mean toe imply anything like that, but the fact that you have that mentality about it will likely mean that you'll be very successful and you know you won't start anyways. So I hope you've enjoyed these lessons Has been a pleasure mind to bring them to you. I would love to know what you think and remember, I'll add new lectures of needed to improve the quality of these lessons. Eso If there's something you would absolutely love to see in here, let me know, and I appreciate it. May reviews. You can give the course content, so I know what you think of it. So as always, keep drawn, keep them fun, and I will talk to you soon.