Drawing Zombies and Zombie Hordes | Ben Tobitt | Skillshare

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Drawing Zombies and Zombie Hordes

teacher avatar Ben Tobitt, Illustrator and Animation Director

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

6 Lessons (1h 25m)
    • 1. How to draw Zombies

      0:16
    • 2. How to draw zombies The lone Zombie

      21:40
    • 3. Zombie Variations

      5:32
    • 4. Zombie Mutations

      19:29
    • 5. Zombie hordes intro

      3:49
    • 6. Zombie Horde!

      34:02
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About This Class

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In this class we will go over how to design and draw a zombie, the variations of zombies you can have fun with, and how to draw a massive horde in record time.

We will also go over the fundimentals of charater drawing as well as storytelling in both illustration and character design. 

This class is perfect for people who love horror and want to make their own horror illustrations, comics or video games. 

Meet Your Teacher

Teacher Profile Image

Ben Tobitt

Illustrator and Animation Director

Teacher

Hello, I'm Ben.

I'm an animation director, Illustrator, character designer and background artist for films, television and games. 

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Transcripts

1. How to draw Zombies: Hi everyone. In this lesson, we're going to go over how to design and draw zombies and the dead will go over how to construct a zombie, give Harrington variation, as well as how to draw a convincing horde of the dead. If that sounds like rotten fun to youth, and I'll see you in the next one. 2. How to draw zombies The lone Zombie: So again, this chocolate festival me, well I like to do is just be super loose with the construction. Basically drawing the skeleton of creature and I include work away outwards. This is a really good technique to get used to doing when also so design's end creatures, not just humans. And a good knowledge of anatomy is highly important for this sort of a social design work. So as you can see, I've already sourcing out the chest and the pelvis and the legs and arms are going to go. And then I'll work in the details later. He's looking almost kinda neutral, so I kinda wanna just make him a little more ragged. What's fun about drawing the zombies is that because they feel no pain, you can twist and control them and tools, shapes. And it doesn't seem unnatural because the dead and then that way you can have them kind of tougher around in kinda when uncomfortable shapes. If you only see some amazing zombie acting from human beings, watch the film that Train to Busan, which is a Korean zombie horror film. And I started, I must have a contortionist and acrobats to Pele the zombies. Elevate like how the zombies in 28 days later. We're old dances kinda gives them this kind of weird ethereal look. But in safety and sound, you see some amazing contortion along with the sound effects that really makes them quite, quite disturbing. C, so thick recommendation that say the head like to do is start with the skull. And then can I work my way outwards? And that way, you're kind of making up going rotting into the skull if that makes sense. It's also a good practice to be knowledgeable of how central human skull in general in terms of having you create human features and also schools look cool. Just quickly getting lots of loose mugs n, because I'm just going to, it's kind of neat and these up later. So, so good. The pencil I'm using for this in Photoshop is cooled stumpy pencil. So if you guys, here's the stumpy pencil blog, you'll be able to find that. And I already, her love using it to mock-up drawings. See you have got the skull. So that start giving it some all small character. And they keep them, those rotten off. Let's make the teeth to cheekbone, which is very important. Something that's fun about during zombies, is that you can do a lot more details, or at least be Mall and kinda crass with them than they could if you are drawing like a human being like if I was to draw a person for this kinda defined in teeth unless they're a monster. It just wouldn't look right. It would look very strange. Let's just gonna stretch the scan of it. Maybe have the skin break. Oh, but almost go. Almost like to have the areas around the eye is very dog. Make somebody groups come together ahead a little bit too small. She's not the usual, usually. Something you'll find is the human brain naturally wants to make the head larger on a sketch or drawing. If j, if done free hand like this, is because they hadn't, the eyes are features that the human brain get gravitates towards in terms of importance. So that's why a lot of cartoons, the heads of much more disproportionately Lodge and especially the eyes, then if they are real. So if you find yourself having to shrink the heads on, you'll drawings, you'll sketches. And that's why, it's also why, especially Disney films, that the eyes of the characters are often quite large and thus to make them appealing. But this guy is that somebody ease all meant to be appealing, to be curbs. So for the hands, I'd speech is very blocky with where the fingers are going to go, like so. And then just going back in to had the fingers individually CO that one end of it all. And that helps with the problem that a lot of people have myself included of joining hands and the fingers gets it can get a bit much, can feel something that you just sweat too much. And then that stress comes out in the drawing. It's just defining from, well, starting up ions here. And they all shadow. Palm up the trigger figure. And then once again, just doing like one of these planes, almost like a flip for the other fingers. And I'll help. And form where the rest of them go. This is looking super-duper massing, but it's going to clean out. Another thing this is. Fun about drone zombies is if you'll, drawings are a little messy. It doesn't really matter as much because especially phone I have kind of rotting look to them isn't like adding some extra like hard souls. Unlike areas where the skin has thoughts, it's a rot away. Let's stay with that and construction lines, so we don't need them anymore. It's getting pretty really straggly. May be quite long hair in life. So you still got some of it in death. So I'd like to draw the ellipse kind of pulled back like this. If you look at corpses as they get older, as they dry out, I should say the ellipse tend to peel back in. And I rectus already signed to make decisions on this. Somebody is a character. So we've got the long path. So the kind of clothing you add can also help define character. Make them look a bit more interesting. So I think it might make this guy like you might make them like a hippy. And so I didn't hire feels a bit it feels a bit dated. I'll maybe a punk rocker. Any slightly last dated, this leg is looking a bit and then put in a week. So going to put in some or a kind of dynamic pose. Side has given its giving like a punk t-shirt, maybe some chains in such something that T-shape and fun things do. Its stuff is to draw the lines of where I'd like the clothes on. And then he just stopped drawing little circles like this to tonight degradation. Let me just erase away where they join up with the lines. And that's a just like a nice way of showing rips and tears and the clothing that sheet I think looks very appealing. To know why. Still having bits of the skeleton the show through. Now comes the belt loops. Came some very skinny super skinny jeans. Is a SKY Fellow in life and he's just a skinny and death. I'm drawing it with no shoes, belts they come, I had a big unless. And this for me, but less symmetrical. So this adding bits, a character and stuff, it may seem a bit over the top. But you also find way people draw zombies, take conscious make them quite. They tend to make them a little generic. And just though, expectations like this will help real designs stand out and also like zombies in space be like fun. So it'll character that's full of them. Just makes them more interesting. Especially as you know. He usually the copes is. People, So it's nice to think, it's interesting anyway. So think, oh, what was this person before there was zombie like, what did they do? What did they look like? And that can help, especially helping illustration seem more appealing. And also, especially if you're doing like a story with zombies. Like already helped a comic book or a story board. Feel more involved. Until something like a bullet. I think. Gross, pretty nasty. Let's see if it passes the selection test. Not on the hand. That's fine. Just tighten this up. So as you can see, I'm not super sweating the details really. Because those will come naturally just having metal hatch marks and things like that. Well, help making it failed details without individually having to go in and do every single wrinkle. Because although there is the temptation to do that, yield just, oh, usually overloaded if an image coming on to the next selection, just making sure I get only in the bits. Yeah, and I'm gonna go tourists like second, like I filter that. I'm sort of select tangled. They appear to select and modify, expand, expand by three pixels, and Select, Select, Inverse. Select again, modify, and this one smooth, smoothed out by two pixels. This will stop it from becoming jacket. And then I'm just going to pick a color skin to put like a green fill that track that below the line work. And there we go. So I've gotten to get rid of this. Let's just do that by hand. And I'm going to make a fresh layer. I'll click on that crate, a clipping mask. Just go straight to black to, to the shadows. And then when you doing the shadows, I tend to find works best is if you consider drawing as if it's not TDD is actually 3D, but you're carving out the shadows from a sculpture. This, this also some methods to get the kind of shading that you want. This is just one of them called the light coming down from this direction here. So she would probably be more shadow. Yeah. And this may seem a bit extreme moments, but only will be revealed. Its young reasonably happy with that. So I'm just going to bring the capacity down to about 25 maybe. To see looks good. That looks good. Just neaten up sometimes shadows. You can get into the skin on. I'm gonna do bring up a texture. So I got my Textures folder here. And I got this one. Craft paint and such like this. Also some places where you can get free textures, all embeds a, make your own or may use this one. I can use this one because it's got more color variation. So I'm just going to drag this one over. Photoshop. Just kinda, it's tough. Being a smart objects do not. Clipping mask. Let's again, let's just mess around with textures. Voice, very, very elastic. C, you can become a refer them if that makes sense. Leading to be precious with them. And I'm going to have a look at what looks best on how it presents. So normal like doesn't look that bad actually. But I kinda wanted to be quite jazzy. Sign. Just gonna connect through method, say, see what looks the best. It's interesting with the retina, the thinking of the Go hard light and just bring the capacity down. Yet again. Then over that, I'm going to paint over the clothes. Just so the Rihanna ground. Obviously keeping this underneath the shadows side, I need to see the shadows twice. Kids who has time for that. Honestly. That's gonna look back into it. Saw town homes and touch. Missed another yeah. And then some again, trousers. Yeah. He's coming along now. So we're working on areas of the face. And given kinda cope, see yellow eyes, send the teeth. Something that can be fun with colors as well. With the texture is that thick, slightly randomization of the color palette can mean you can get some really nice little happy accidents. So there's a little green in this ballot, but that's from the original color layer. But the texture itself is mostly orange. So that's bringing in a camel kind of sickly green, which definitely helps Stan make it stand out. So I've got some like expose bits the flesh here. I'm kinda red spectrum. But low texture. Like maybe that's why this guy was bitten. First. Son. Right to the mouth. Gums. Yeah. Like I'm going green with this one because I felt like it could be blue or gray, or even people like us designing zombies amongst us. You know, it's up to you. You can do it W1 Bros. if the showcasing here, well, I might do now is kinda purpley black lines game. It's a pencil again, coming off these wounds to some horrible veins, sharing kind of signs of evil, even infection. Like I said, with the clothing choices, this is all about the storytelling. You'll count sign skills, ha, special showcase. Spend your telling a story like this. Just through the details of the design. Some tough around the eyes from yeah, coming along. Just gonna see what the line looks underneath as well. Yeah. It's kinda type. So I'm going to release that quick mosque because I want to keep that. So almost lost stage. Kinda go into some light, sunlight more harshly like coming from this direction. And you may think, I'm drawing this all quite quickly. And I am. But that's because I fin, doing this kind of outlook for years and years. In fact, I got my first big break as an illustrator doing some work for a metal band. That 1A is a zombie. Zombie useful that front cover because I was doing a little book inspired by the first comic From The Walking Dead series, shuttle Joseph, just fantastic details and the zombies. As big a fan of the outlook for the rest of the walking dead series. To constitute the grave is big. So I'm just gonna go and do small details, can be some highlights. Now for the eyes and the teeth. Just some bit Saron that actually the thing I really liked from the Walking Dead. Because that leaves us with always with flies buzzing around the zombies, which I thought was just such a fantastic detail. Boys having like a cloud of flies are on these like horrible copes is they go if you will add some more, contrast, something I like to do. The very top. Make sure it's in the clipping mask. And then essentially do a ramp, say, goatee operating tool, make sorts the circular one, fade from white to black. Guy from the point of the light source. Set it to overlay, and then just bring the capacity down. So it's not completely, it's not quite as harsh as that. And there you go. That's how I like to draw zombies. You can put as much or as little detail as he like. As long as you follow the kind of generals, Rosa drawing kinda meaning, as long as you keep attention to the pose and have a good skeleton under there, you can kind of rot as much or as little as you like of financial flash. And it went look disjointed if this guy's client kinda basic. But in the next video I'm going to, I'm going to go over this for different types of zombies and show how, depending on how the zombies are created and you'll story or in your illustration that can help you inform how you design them. So I'll see you in the next one. 3. Zombie Variations: So there are actually quite a few methods of creating them dead. And each method has its own quirks and designs that can represent the method and also the setting and story that you're telling. So firstly, there's the biological or raged zombie from films like 28 days later, all the crust where the zombies are technically still living. People who've lost their minds and feel no pain or emotions, early rage and maybe hunger. For these kind of zombies. You can be a little bit more subtle, but the design, the person who was the zombie showing through more than some of the other designs. Despite the fact that you have to be closer to the human form. You can still have fun with design and, and you can also have them be much more expressive than other types of zombies as they have all their facial muscles left. However, with a virus or signal or whatever, you can have a affecting the eyes on the skin. Maybe it causes the victim to salivate constantly or spit flood. There are all sorts of things that can happen to the human body with things like disease. You can also still keep them in interesting poses and, and still make them interesting to look at. Secondly, there's the fungal Zombie brought on by a human version of the real life quadriceps fungus, which usually targets insects growing inside of them and taking over their minds. This method there is amplification was popularized by the last of his gains. But as I said, it's based on a rail fungus. This is really fun wave varying and zombies for our projects. As you can look up different real life mushrooms and fungi to give who designed some real character and individuality is also an interesting way of showing the degradation of zombie ones that have been recently turned. Don't have a lot of the fungus showing maybe just a discoloration or modeling of the skin. Always then as they go on, like the one I'm drawing here, less and less of what it was human is there the flesh thoughts be eaten or rotted away and they become more and more taken up by the fungus. So you actually have a way of official story-telling of showing how old a zombie is that's different than IT just rotting. Which is really fun and you can be really bold colors. Then there's the classic bio dead zombies. I would say the zombies are corpses. I brought back to life with a virus or cast that infects you. They don't exactly follow the laws of physics, but that's okay because somebody say exist anyway, these Resident Evil, Walking Dead, Day of the Dead, somebody's the classic zombies. You can have lots of fun with these zombies giving them mutations and having sections of them rocket off in patches. This guy's got a losses face rotted off. He's got his guts fallen out. One arm is completely mortified away. Again, as long as you keep the skeleton underneath in mind, it affords you a lot of creativity in, with these kinda zombies. And there's a reason why been the most popular for a long time. There's something inherently disgusting about a walking corpse. Arguably started with Mary Shelley's Frankenstein and then HP Lovecraft before. Nice if today films popularized it further, then there's the Satanic or magical cursed zombies. These are fun because they're completely detached from reality. They are more or less perverted skeletons that's just happened to have flashed and static loads on them. You can go super rotten with these zombies and that's also crazy stuff to them, like, like cast glowing markers, spikes or extra body parts and tentacles, et cetera. Really, it's whatever your mission nation comes up for is you also have things like cursed armies or undid pirates have fun with, for example, the Pirates of the Caribbean zombies or the zombies that you see in stuff like, well hammer, where you're no longer constrained to o, it's caused by a virus or an infection or whatever. So you can just go completely wild with the design. This kind of design is popular with a lot of diesel punk stories or kind of alternate history. Well bore to or what will to horror. Because things like the cults are inextricably connected with Naziism and the idea of the Nazis bringing back the dead using combinations of science and magic is always quite beguiling. But again, because it's magic so says, no rules, feel free to just a completely nuts. All these, these designs are quite different, but they all kinda follow a similar human trajectory. Then of course, there's the more wacky zombies. And you can do with super weird mutant zombies. And not just the, they got the big fat guy. You got the screen, you got the one with the long ton or whatever. You can do, all sorts of crazy stuff. I'm going to go over that in the next video. 4. Zombie Mutations: Now we're going to do some mole variations on zombies. We've done the kind of normal gambling copes types. And we'll see a few more that variations, but we're going to be small experimental shapes and sizes. Now what these kinds of designs, while I like to do, is go in first and they're really thick brush is can be any brush that you're comfortable with. And it really helps just get the shakedown and the character that you want to express without going into any of the details. Because if you start getting into the details too soon, you find you get quite a stilted drawing. And it doesn't have a lot of animation or movement within it. Whereas if we go in quite thick like we all now, where you've already called quite abstracts, quite strong shape that we can then just take me a past T town on. And then going on the more of the details. Once again, starting off with the skull, so that's enough with the head. I think that's the bit which I'm gonna rots the most with this one. But as you can see, because this is like a big British mutated somebody on which the be quite strong with the forehead here. So that really juts out here. I always wanted to get a quite thick with the, with the neck. Here. The head does not look in Congress with the rest of the body. Sets the teeth front ones cuz it's gonna be covered up with what's left at the cheeks. Here was a kinda pushing the teeth out here gives it more of a kind of Simeon ape like look to it, which can be quite disturbing. Especially as this is like a big gorilla guy that withdrawing, hey, just getting over the head, its definition of thought, maybe this guy's got most of these horrible Li, Bu bows. Like big, horrible like pis films, like sex that the zombies developed those they Ross and get holder. And also something to think about. Is this a zombie that as like this all the time or is he kind of grow into mutated as the infection has taken hold. So I figured I'd add a few more details here. And to kind of represent that, that this is a zombie that has progressed further than a freshly infected person. And once again, like I said in the earlier video, just adding little, little storytelling devices in that, in your design, decisions can really help making a character Phil, alive rather than like a months of standing that. So thanks. Appointment. Yeah. And I think some shadows down, it's showing the weight. Some of its gets spilled out. This is always just kind of fun, gross chord, but it also helps kinda cover up areas of the nurturing you didn't really want to draw. And it's also thinking about like the like hair and adding, adding knives and stuff like that, that's been plunged into him. Then I'm going to add a few more later, I think on that to really show you that this guy has kind of been through the walls and like a love, survive as I've tried to kill him, but failed. Here we go. Kind of stinks and T cell and then kinda ripped tank top will like it ripped something that just as a little bit more drama to the chest area gets some big big thick fingers here. It's more definition. And yeah, I think it's gonna be cool if it looks like, yeah, lots of people have tried to go off to him and he's quote, unquote, survived each attack. So he's within the story of what she exists. He's quite an old zombie, probably quite an infamous one, who has pretty cold. A lot of people and a lot of people had tried to kill him, but all of them failed, was like in the troll, something like that. It's a little cliques and spinal Reggie's here just popping out because the flash on top has started to really sag down. The hue. Kinda looks all kinda SAT II, which is kind of gross. But amongst them because on the one end to the gross and the Tweets come shot to make the boots that my kinda broken. And small definition hair on the other leg. She's kinda dragging along. You can see on his left leg like a lot more white is put on that one as he's drawing in their midst droid. Just that small definition to the arm going into the kind of the inverse of where the elbow is. Some shadows and just blocking out the shadows on, on the hat as well. Like the palm, this Nick Paulson, he didn't really see that. And I thought I had some damage, some saws and maybe maybe there's a gunshot wounds that felt kill him. Just adding another an x here just to just to just vary up T7 sketch layer, just small detail took guts, just looking at the areas which look a little, a little blank, that needs more definition. It's like hair on the rep looks a little too clean. Again, like I said, for the other fun thing about zombies, it's like you can be messy. You don't need to be terribly precious with the line work. Once again, just telling and small sketches and some more shadows, small lines to help define it. More. Smoke white marks like this guy probably got bitten by a lot of people and just adding some of these Gross popped out veins almost like a almost like a kind of diseased steroid feign popping. Just to make him look extra tall and angry. P-values from the head and neck. Yeah, there we go. We've got our big brutish zombie. He's pretty simple, but we're gonna do a more complicated design later. And let's go for a student like I kinda creepy stalker, zombie, pretty curious though, just scatter around. Just gonna, again super loose. You know, some people will go straight to black with these loose postulate sketches. I didn't quite like that. So I'd like to see what's going on. Yeah. Kinda given him a kind of deformed, almost like werewolf kinda look. Had the head of that, but I figured if I really push it down, the much more interesting shape, this guy does not need to follow rules of anatomy really. And in fact, the more kind of twisted we make him, the most kind of frightening he'll be. This is something I talk about in my house and make horror illustrations, videos. So if you want to see a slightly different take on Mickey Mouse's then high, you're having any ticket that one out? Yeah, I think I think you could go don't go much like an old man face. Going with the skull was before. Doing this job can be a little tricky sometimes. And I think because the nexus, so to stand it, just really have the shoulder muscles in the neck really, really kind of like pretty descended, ready? Exaggerate them. Let's think this guy's like a little thinner. Some have more spine sharing through the flash. Like maybe if I go into some more details that she starts to poke through the flash over's. And with the other arm here, send some detail. The hand, the fingers are actually supporting a decent amount of weight, whereas this one is up in the air so it can be a little looser. Yeah, not only working on the face, he does look a little goofy right now, but the more details you add, the better and also some of the best designs can look a little like, a little silly at first, but as you add to them and you just keep going, it's just like just be brave with the design. You can find sometimes that some of them all silly designs can actually be the most effecting. Because if go why angry all the time, that's not especially scary, can be shocking, but not really disturbing. So I'm just kind of adding Maltese tells of the eyes here, but also in the muscles in the neck. Again, some long straggly hair. And it's just some curious like juices flowing from the mouth. Nothing in some of the T cells of the chest here. Just kinda M But the leg here and some trousers because this is a PG rated her lesson. And then again the same with the with the tank top, with the heavy guy. Just doing like a rip here. And I always, and a fun way to do that is just to do a big swoop there at the top and then just have some Tatas lying down. And that's your kinda easy trick to doing ripped clothing and rip material to super deforming the feet here. Comic and cause similar to like a wolf or like a dog where the ankle has become its own extra joint and the feet have descended to become even longer. So it helps support the body on all fours. To get rid of the sketch line now would agree, need it anymore. Some more definition to the back of the leg is shaded and at this point. Then you have once again, just any areas which look a little too clean, just adding some more lines and sketches and stuff like that. Just yeah, I'm really making that neck very bulbous, making it really gross. Yeah, he's pretty nasty. Spanish. All this natural end to the trials is that we get kind of nasty stalker, creeper type zombie. No, let's get this. So we've got our like big British guy and got kinda skinny, nasty stalker guy. Probably not to scale. But let's do something a little more challenging. That's to kinda Kimara, rat king type zombie when she is pretty big like the first guy, but it's not just like a big human being, but actually you'd like a combination of copes is altogether. And this is where doing the design just super loose and a big brush really helps because you can really get a sense for shape and scale and movement very quickly. So, yeah, I thought I have head at top and then realized now she kinda the main head to be kind of stooped down and have to have another head? Yeah. Like an arm out here and another one for grabbing. So you would use as his main front arms for walking. And the kind of the one that's fused was back would be that to like grab prey, somewhat unfortunate victims. Small guerilla like legs. Already compared to our first big guy. He's already looking a lot stranger. This add this third co-ops here, kind of helping him up, keys fused into the leg. So I said let's bring that pasty down again. Fleshing out the drawing. It's Tom, this guy's skull and this guy's column. I don't know it too much bigger than heads and maybe, maybe that kinda walks fuse together. So you can imagine in enough time this, these two heads may become just the one head for this to mushed together. Atlas of flash kind of kind of melting over the first half. Step, erase some of these lines. We can form a kinda gross kind of rotten bridge between the pair of them. And then you've also got the contrast of like a very large bloated and then with one attached to it. So you get almost a kind of medley of body types rather than old just being the same and the becoming homogenous will have this hands, the commitment will friday looking more like it's coming towards the camera, just give it a bit more definition there. In my office. Join up as well. Let's give this guy it's good scholar, a huge goiter. And just like the troll King Hubbert film, like these three zombies kinda fused together and just gorge themselves on people. Kinda with the belly. Now, kinda using the position of the head to dictate where it is. Again with the first guy lists these big, these big hard be bows that kind of sprung up around the corpse. And that's one of the really big like horrible veins which kind of slowly solidity subsuming homo bullies together. So it will be fun this honest. Maybe we should have some more rotting here. This show like the femur bone here. Just kind of poking through. The ion is slowly but surely started to rot away from it. Because if you can't be coerced to be zombies comp rigorous with anything. We fund their heads like quite big, quite small fingers than this one. This one I'm actually uses essentially is the so it's very much swollen. Hence the fingers become much like dig down on this elephant time. You'd have a lot of fun with the texture here, making it look more kinda droid and cracks the, the rest of the body. And its main kind of continuing with that kind of Arab and time fitting is the front arm is playing lots of shadows, heavy lines to show that the weight is being placed there. See, I get this guy like this is more of a grabbing hand. Given some slightly thinner fingers. The uses for walking, like as a, you know, these little details really helped bring a creature to life. Like it makes it feel like, Oh, this is what it does. This is, this is how it move itself around. This especially useful if you want to get to concept taught me to work with no rigors and animators. And are the people who actually interpret your, your work into animation. So they're going to want to know, okay, like, how does, how does this guy get about how could you imagine this guy like lumbering around? And if you just say like, oh, she's walks air and that, that's already good enough. But if you, if you intuits with design like, oh, this guy looks like he kind of liquidy lump is ready awkwardly or kind of tosses around or Skittles around. And that reads in the design, you can basically just pass off the concept out to the animators and they'll all the rigors. And they'll apparently just know like, oh, I can see, like I can see already how this character will move around, how this, how this machine will work, et cetera. Bits. And then like another BIBO maybe like another I hear hasn't already horrible mutation. This guy's, this guy's got already rough deal has been made the made the extra leg of this guy. That's pretty, pretty grim. Really. Emphasizing the rotten flesh kinda cascading over him. And just pretty startling to go and fill up this part of the body until you can imagine eventually it would just become completely subsumed by the host body. Then you'd just be like a set of whaling Lebron's second main leg. Again, keeping with the asymmetry of the character is a little bit more with it then the other side. So leg on the right here is a lot more heavy than the one. Here is the point where it's almost kinda withering away because this guy is kind of taking up the slack. There's no perfect. So he's, he's kind of on this tip toes like he's not quite long enough to properly take the weight. I think I'd like now to set the second leg up. I just haven't really like just dangling around, like actually being kinda useless. S motion others here, given the sketch that I wouldn't do that anymore. It's more kind of dripping rotting flesh. It's cleaned up the eye. Since the face here, somebody's somebody's construction lines who don't need them anymore to thick skin. Well, those fingers small lines and definition from the weight-bearing. Just clean up this hand as well because it's it's a bit messy. I'd say say you can't be messy results, so too messy. And it's still needs to be able to read this guy's Red's and we'll definition to him be those come walking kind of exclude peg, excretions. They can really, they can really help make a design seem really gross and really just kind of like rotten and unpleasant. Some shadows here, the arms a little bit more defined. Yeah, there we go. We've got pretty nasty looking, kind of Kimara zombie here and is not so much more interesting as a design concepts than just what we call down here without big guy, like he's kind of interesting. But as you can see, we've got a much more interesting and much more, much more dynamic shape with the second go and some kind of things that can happen. Sometimes the first design you do can be okay, but needs a bit more work. But then after you've had time to think about it, you can come up with a much more interesting and much more energetic. And yeah, that's all part of the fun of illustrating and designing these kind of characters and creatures. See, I just have fun with it. You know, just go big, go messy and then refine and refine and refine. And she'll, you'll find, you'll come out with much more interesting design settling for less dry. So in the next lesson, we're gonna go over how to draw a horde of zombies without taking a million years to do so. So I'll see you in the next one. 5. Zombie hordes intro: So for swarms or holds the zombies, It can seem a little intimidating as it looks like you'll be drawing hundreds of figures over and over and over again. But it's the same as drawing a crowd scene, but with just a few extra steps. So before we go into that, we're going to go into few examples. So first example is this wonderful extraction by Tony Moore. The first artists to work on the walking dead comic series hit the actual horde of zombies is more suggested as the front zombies take up most of the frame, but you still get the feeling there are a lot of them just through the composition. Then we have this illustration from the card game gathering. This one has a hold spilling over these bashed down gates. In this one the acess has cleverly had the whole form, the sort of mound over the threshold so that they cover up the rest of the horde behind them. But again, it's implied that there are many more that a nice detail is that we have this central Hawking's on me in the middle to breakups the shape of the hold. And further it send you new waiting. This nice fee composition leading the eye down from the light source, which is the moon, down through this guy. Not really specific picked she too much to these guys, but then it leads down to the small details. And lastly, we have this masterpiece, warhead fantasy. This is the most amounts are zombies on show, but you can see they are all directed in one direction. This helps draw the eye from here, down here, and then across to here, also accelerated by the lightening hair. So a painting like this may seem a little intimidating, but it's more or less following the same rules as this one. In that the artist is using perspective and composition to help suggest rather than actually render the entire hold. So if we just break this painting up into the fall, you'll see how this works. So first of all, we have the front zombies. It's these guys right at the front who have a lot of character and they have a lot of detail. Then you have the mid-range guys just behind them. And then more or less the same detail but slightly further back than that, slightly differently. Then we had the mid-range guys. These guys have even less detail than the ones in the front. And then we have the old device at the back. Who, more or less, if you look at them, they're more or less just suggested true shape and lighting rather than actual renders of individual creatures. And then we have the background. And as you can see, if you break it up into these layers, it becomes a lot more, it becomes a lot more manageable. Paying special attention to, most of us are rendering at the front, lease, Masha rendering at the back. And then as you can see, the sky isn't terribly details. There's clouds. I'm or suggested by the paint strokes and the lightning takes up most of the attention going there. And also so you can see I've had them go from light, progressively darker. This is something I'm going to go in to the next video, but that also helps draw the eye from the back to the front where the most matter detail on my sweater effort is, while still keeping the sense of scale and sense of mass in the painting for having to individually render each one. So going through how to actually achieve painting like this will go for in the next one where we can do it together. 6. Zombie Horde!: Okay, so let's make a start on doing our Hoatzin. So I'm just going to go again super big with this one as I'm kinda figuring out. What I'm gonna do is kinda urban scene. A little bit like the tiny mole illustration. See, I'm just going to figure out the shape. I think I want the whole kind of ascending from a high angle down towards the camera. And yeah, it's just figuring out the big shapes like wearable and the heroism needs to be. And also just sketching out the shape. I want the composition. Again a little bit later, Magic, the Gathering cards, kind of v shape. So the illustration is nicely bookended by these two front zombies that just now going into some at the back. Again, keeping the brushless and big source out that big forms in this stage, rather than getting into any kind of detail as that could easily kill the composition and Robert of its energy. And already, it's looking more interesting than they fight worked back to front. Because now we have this kind of drama between the foreground and the background. Another important thing to keep in mind is you want to vary the height and layers of zombies are especially of a crowd, so it doesn't look like they're all automatons like the not all the same thing at the back here. I'm going to add something burning. I think that will add a little bit more trauma to the composition and also a little bit more story. So yeah, just going in the faces and just whether skulls are going to agree to look. And I can come up with characters and designs for these guys later. And yeah, I think that's a center look good. We're starting to get a feeling at depth and not a 100% sure on that kind of mound going off into the distance. I think that's going to look a bit weird when it comes to the composition. But that's something I consult held later. Small T cells here. Just trying to think about what these characters will be at front. Obviously because there the heroines thing to substantially more detail. And to make this one look emaciated. And yes, you see it going into the background. I'm the she just doing a little bumps, foreheads. This isn't really a full-color illustration. This is going to be the same kind of detail I do in my storyboard up. But it's mostly to show how you can relatively quickly gets the shape and feeling of lots and lots and lots and lots and lots of elements without actually having to draw them. Is just gonna go with the details of this guy. I drew on the long, long layer. And that's why you always make sure that your sketch layer is put to alert capacity and you don't end up drawing on your sketch layer and having a panic attack because you've done. Half an hours worth of work on their own land and have to go back. And, and social rollout is thinking about rushing in this guy's nose up. I think I'm just gonna make it the quiet MACHOs. Yeah, it's just adding in the second row teeth here. I'm saying about zombies is because here there were horrible. You don't need to give them perfect beautiful features. Cricket teeth and lop-sided faces will only help the design. Rather than hinder, it. Just collects some galaxies like a cop. Cop. Yeah. The ship and color hair. And then yes, just social atlas shoulders hair, like some epaulets. Again, just been very quick, very being very energetic with the with the designs. So it doesn't become too bogged down. In some sort of patch hair. I think. I'm making the shirt kinda run pulled because I want to make this guy look like underneath the clothes, he's quite emaciated. So the close look, very ill fitting because he's much more skeletal underneath. It's this little, little touches like that that can make zombies feel a little bit more believable. Show I always like to put quite dark shadows onto the chin. Really helps extenuate the face and really makes the head fill like a 3D element, especially is the head and the face is so important to design. Yeah. I'd like a knife going through his neck. Like someone's tried to stab him. Please just kept on going. Because as everyone knows, you've run the code, somebody use it, destroy the brain. Clean up the blade hair. Like it's actually gone through and especially the tongues probably with a brush it out by now. But I kinda like to happen just as a touch. And yet this little cups to degradation around the lips, like he's tells to, to, to rot and decorate around. Let's go on to the second one here. They're going to make this one really rotten. Might make this one a female zombie as well. Given, given this big Hello eyes. Just like we talked about in the first video, just using the shape with the skill to dictate where the features go. And that way you don't end up with kind of lumpy zombies that you see you in some illustrations. And like sometimes if that's what you want to go with, that's cool. But I find a much more interesting and much more readable design has one that actually follows the rules of human them. That's me because it's that kind of perversion of human anatomy. The co-ops that is one of the kind of beginning parts of the undated. It's the, it's that kind of disassociation and horror that makes them special and makes them widely attractive and repulsive at the same time. Whereas if you just draw zombie very cartoonishly with little or no regard as to what an actual human being looks like. You kind of go away off the sides of the Uncanny Valley where it starts to become like it. It's so cartoonish. It no longer has that uncomfortable resonance of human being. And you know, if you wanna do like a queue or like a cartoony or like cities Omby then absolutely make him a bit lumpy, making a kind of cartoonish and not looking like a human being. But if you actually want a visceral reaction from your audience, then it's best to stick with those parameters of human and asked me and also, you know, like at your level of comfort. But also look into what mortification looks like. You know, you can very easily find images of, well, corpses at several layers of degradation look like just contain the hair. Really rotten looking braid. Let's just suppose we were probably starts to fall off by now. Also something you may have noticed in the front somebody is is again to not make them feel too uniform. I've had this one on the left looking down, whereas the one on the right is looking up and forward. And that just helps give them a little bit more energy within the illustration. If we're doing a crowd scene though people, it's best not to have them all looking the same direction unless that's just the point because it looks kind of unnatural. And I want to give these guys a look of having kind of shambles and tottering forwards or wherever then all walking in unison like robot would. So again, starting small T-cells to the close again, a saw like a degraded a bit on the forehead that pretty gross. And then yeah, I'm just going to use the Select tool to just carve out. These guys are not being super precious for the, this is the method that I use when I'm filling out characters and such when IT storyboarding work. I wasn't a big fan of the select tool like this because I was worried that it would give me kind of wobbly and very unprofessional looking lines. But I found if you just do it enough times and if you are just confident than its all good, like just keep, keep going with it. And you'll eventually get you hope it's enough to where you all must be able to do a lot of drawing and painting with this tool. And it's actually a lot more forgiving. To be an older iterations of Photoshop. And just using the ramp fill tool to give them some just give him like a layer. Like I said, I'm not adding color right now. I just want to get the competition and the lighting right? And this one, and I think I'm gonna have them backlit by that fire in the left-hand side background. So it's going to be quite harsh spotlight coming from that direction. That's why is that shaded, light up to dark rougher than the other way around? Not a 100% happy with this gradient though. Mycobacteria later, just getting in here with the mid ground zombies, just being super rough and sky was facing, really fought down, but I wasn't too keen on that. This head is way too big. It's going to be shrunken down and continue with the eyes. Grace, blank stare. And getting the jaw line again. Cubits, MLA. This guy, I think we're going to do for him. I think I'm gonna make him a soldier. So give him a like a bulletproof vest and look combat jacket. But also I think a big guy in the variations video, I'm gonna give him some horrible p-values kinda sprouting out over his copes. Make it extra girth. Stands, spoke shading air helped give it some weight. Keys still teabag which can make invisible. Speak this home a bit bigger as well. And they will get just the ads like the little details. Let's just to imply his uniform and stuff. Like I said, with a big scene like this, it's better to imply details than to actually do them. And as long as it still reads it, then it's all good. So I put like some bite marks and the stuff on that, but I didn't put the doing blood going down all the highlights of where the the wound has kinda created in width because it's not necessary. Like no one will know, one will see. You'll notice that you've got to keep the energy of the illustration up and the drama as well. Head is still far too big, just gonna make it slightly smaller again, this is a, if you find that you'll join the heads too big, that's fine. It's typical human condition. Luckily, in Photoshop you can make it smaller, but you can help alleviate that. If you find an ask me is really a problem, then I highly suggest you drawing from life a lot, go to life drawing classes if you're able to all just try and draw people in on the street or in your own home or your friends or family. And you'll find the more you draw, the more you study the human form to more competent you'll become. And you'll be less likely to make anatomical mistakes. And, you know, it's fun, it's good fun to do left to right on this one. Again, using the sketch like this is a much looser sketch there than I would usually do. But again, it's mostly to get the form and the function of the illustration rather than the details. Obviously, you can put as much for this little details into the all sketch layers when you work on them, that's entirely up to you. Some people like to work with very little details and only the figures are forms and other people like the certainty of having a sort of a roadmap. For the illustration. It's totally up to you. And I kinda hard rules for this sort of thing. It's just sorting out this guy. I'm not quite sure what kind of character I'm gonna make him. These are the things where sometimes if you just take the pencil for a walk, you can find you start coming up with ideas. They just start coming out naturally. But I think I'm, they can kind of quite skeletal as well. Where you have those ribs sharing through inquiry, law of damage up here on the shoulder. I think that head is too big, it's too close, doesn't give us much distance and perspective as I would like. So I'm making it a lot smaller. This guy. I'm going to have his jaw kinda dislocated. And the tongue wolf lowland out. Just make it super curse, expand, been super, super curious in this illustration yet. You know, thinking I'm a big guy, pay him like a hoodie, making what kind of round? Because when we kind of macerated and I want to vary up the melting of shapes on the show. These bits. Then kinda edge of a hoodie here. And yet by doing those loose sketches at the start of where I want the composition to go. That kind of v-shaped frees me up to be more kind of indulgence, the details and the storytelling I wanted to do. Because once I know, okay, this is gonna go here and then this is going to go here. And it's gonna make a pleasing shape. That means I don't have to worry about the structure of the painting as I'm doing it. If you're doing quite detailed and quite busy paintings like this, it can be very easy to feel like you're just getting lost and you don't know where to go with it. But again, if you're very clear with where you want the painting to go from the beginning. It just makes it so much easier. It's like a holiday. Some amount of kind of improvisation is absolutely necessary. But if you improvise the entire thing as you go along, col, find, it just becomes opaque Hamas and it becomes kinda stressful. And then parts you are looking forward to or you wanted to achieve. And end up not being able to without having to backtrack. And it can, it can make painting little un-fun. But by having a clear idea of the competition first and then the details, then it just makes everything a lot more enjoyable. So think of these guys. I'm going to get a light to dark and then just fill in some of the shadows down the bottom, which look a little blank and heartless and just going to fill but is very softly too big the statement and also help get them some will debit definition. So they all become homogenous and just really bring down these guys at the front. A kind of rule of thumb painting. That is just one of the things so that it's just always looks nice, is if you start off with the very light in the background and get progressively darker towards the camera. That's one of those things where it just always looks nice. That's why you often have a lot of paintings, which starts off very light. And they get progressively darker until you have things like tree branches or a framing of a window or something like that in pure blackness. This is something that assist Gustaf Dory did a lot. If you look at his etchings from paradise lost, they all follow that formula. Or it starts off very light, even white in the background and it gets progressively darker and darker towards the camera. So I'm gonna stop working on the actual hold at the back and just doing oh, wiggly line. Just to suggest that there are heads and bodies that do not need to go into detail. And yeah, these are a kind of background heads I was talking about with the others. This one's a bit too big, but that's fine. You can shrink it down. And Yeah, no, absolutely no subtlety here, just, just some shapes and suggestions of losses. The, Luckily the human skull is very recognizable. And where the eyes and the nose and think I done to the mouth. And just a few strokes of the pen, you can render something that's instantly recognizable. And now we're just getting into the heads. Just the tops of their heads legally can do some waving arms if you want. Or if you go. If in your story you haven't suddenly tasty zombies like giant zombies or whatever. You can have some of those in the background just as like shapes and stuff like that to help break it up. But I'm just going to stick with regular old stalker zombies. And yeah, it's just the whole shapes just making sure that they're getting smaller as far as the gate back. And also not too many of them in lines that something that is just like a habit that everybody does. When you start to do look somewhat slots, so shapes in a row, they end up going in a line just because that's where the restaurants to go. But if you just do it, live it more chaotic like this, little bit more random, it will feel a lot more natural. Yeah, as you can see, that kind of false perspective, that layering of the different elements is already making quite a complex image. As you can see, quite simple elements. I'm just going to fill in again. If the Select tool set to lasso, hoping especially precious for the And yeah, I know the light is going to be coming from that direction. So on the majority of it come from the spit two dot something make it lighter. Pretty good. License still though. And yeah, I'm just going to warp it down because it's just a abstract shape. I can be quite rough with it. A little more rough and folds in terms of resizing them, I would with one of the front zombies. And now I'm just going to add in using a big painting brush the smoke coming out of the fire. It just really helps add a little bit of background, atmosphere and another element of movement within the frame. A bold zigzag and then just adding in the licking flames, getting more and more intense towards the bottom. Now. And that's sort of the sky, again, make it quite light, just giving you a simple ramp. So it doesn't become too homogenous. And now I'm adding in the buildings. Now, like a lot of people, I'm not a big fan of joint buildings, no big fan or during skyscrapers. But you again, like with the tiny more illustration, we don't need to put in lots and lots of detail because that will only detract from the stars of the show, which is the zombies. So why would you, so it's just going very simple here with just some block shapes. And that ramp again adds atmosphere, kind of through a trick of the eye. And as I said earlier, we're gonna get progressively darker and darker with the buildings as they come towards the camera. This helps give him elements of depth and also having them cross over each other. The same with the zombies that cross over each other, one in front of the other. That helps add depth and nuance. So it's essentially a illusion. And to make you not realize like, oh, thats just a bunch of shapes, which is all they are. Now thinking I have one more hair, AKA, but not as dark as the front layer of zombies. Otherwise, a would look wrong and with detracts from what you want, three, showing singing, I think I'm going to add the line work on my clipping mask here just to make the alkaline just that little bit more thinner. And just to neaten them alphabet. This also helped later when I lay down some, some light highlights, which I'm going to start doing now. Nice front ones. It's just having some lighting, spotlighting hair from the fire. To help give the drawing a little bit more drama, a little bit more cinematic quality. Then with the eyes like to go and the stubby pencil, it's very light and then just put more and more pressure towards the middle. And the helps give them this kind of a natural glowing element to the eyes. Like you don't have to do this for your zombies. I just want to add up for these ones because, well, it looks cool. It's quite tense with Herb and believe it more restrained him. Has he is further away from the fire to do and have quite as much lighting. So I'm going a little bit more sparse. Same side of the jaw and the teeth and the edge of the knife here, and then replace the top of this shirt. It's also helped define the front zombies from the mid tier ones. And it just gives it much more of that kind of 3D effect, having them more defined and also a higher contrast. So if you look, there's higher contrast towards the camera and then gets less. There's less and less and less contrast the further we go back because that's not where we want the audience to look. Just doing the same with the mid-level ones. Again, closest to the phi gets more light as they get further and further away, less and less like highlights. Just get back to his audience as well. Just sought out inside of his arm. And I think it's coming into the dock, which brings them closer in line to the zombies at the front. However, what I'm going to do is add some kind of atmospheric light coming from the fire that will help define the layers more kept them more of that 3D look. So everything into it, this and some light hair to make it the brush ready, big, very lightly. Go and just, yeah, I think I'm going to make this even more data. It's not quite looking right? That's already substance live better just to sort of the buildings in the background. The old line up properly. But again, because they're just abstracts shapes, you can warp and deform them as much as you like. Without having to worry that you'll start making Windows or pipes and stuff like that stretch. It's really not necessary. And yeah, if you need to further edit the image table, let me make it more difficult. And it was just the hall drawn on this one. Skill and very soft. Just add small light here that will really make the image more 3D and also make the front zombies 3D pop out so that you don't get a big muddy mess. Essentially. Now I think we're gonna even have a ramp. So it just makes the ramp has tended to overlay bringing the capacity down. And that will really help with the competition in keeping the I focus on way you want it to. And now just as kind of a final touch on K2 at some noise. So I'm going to add noise. Always have that 400% tenant down to overlay. Again. Gonna tend to saturation down and then put about 50% or so. Just to give it a little bit more, little bit more credible, more texture in there without having to commit to a hard texture. And they go, if we were to do all of these zombies individually, it would take hours and hours and hours. But I've accomplished this in about 15 minutes or so. So, yeah, just breaking down the painting into conversely elements and into one step after the other. Just working your way from a sketch and then going forward to backwards can really help make a painting like this seem less intimidating. And Yeah, knowing where you're going with the painting, knowing what the composition is. We'll really just make it a much more enjoyable and less stressful exercise. So that wraps up for my lesson on zombie and lobby hoards. I really hope you've enjoyed it. If you like the video. If you could give it a like and a good review, that would be great if you don't like Flip video. If you want to leave a comment telling me the best way you think I could improve that be great. Also, you can find more of my videos on my channel, as well as links to my social media. If you have questions about this subject or any other, please feel free to get into contact. And if you have found that this has been useful in drawing your own zombies, please share them with me, either on hair or on Twitter. I would absolutely love to see them. I love seeing people's artwork. And if you'd like more videos on this, give me a follow and if there are any things that you would like to know personally, just let me know and I'll see if I can go about making a video. So until then, I'll see you in the next one. And And then by 55. By five. Thank you. And that's fine. 555. Ok.