Drawing a Character's Head in Moho | Chad Troftgruben | Skillshare

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

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

Lessons in This Class

10 Lessons (50m)
    • 1. Intro To Character Face Design

      0:50
    • 2. Sketching a Character

      1:27
    • 3. Importing Sketch into Moho

      2:29
    • 4. Designing the Head Base

      12:30
    • 5. Designing and Masking Eyes

      9:56
    • 6. Drawing Eye Brows

      3:54
    • 7. Drawing the Hair

      7:42
    • 8. Designing the Ponytail

      3:57
    • 9. Drawing and Masking the Mouth

      6:42
    • 10. Conclusion

      0:36
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About This Class

In this lesson we begin the process of designing a character in Moho by focusing on the head and facial features. This course covers the basics of using layers and the vector design tools.

Check out the other Skillshare lessons so you don't miss anything:

  1. Sketching a Cartoon Character
  2. Drawing a Character's Head (that's this class!)
  3. Drawing a Character's Body
  4. Shading and Highlighting a Moho Character

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Meet Your Teacher

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Chad Troftgruben

Freelance Animator and Screencaster

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Transcripts

1. Intro To Character Face Design: Hi there, My name is Chad trough Crippen. And in this lesson, you will learn how to design a character's head. Inside of MOHO will be using MOHO is vector-based tools to design this character. You'll learn all about the basics of the vector tools. And we'll begin by drawing simple shapes to set up the head, the ear, the hair, and a few other items, as well as how to set up a sketch, mask out eyes and a mouth. So that way, when it comes time to animate the character's head, once your design is complete, you'll have various options to control the eyes, the mouth, and more. So with all that said, I hope you're ready because we're about to get started. 2. Sketching a Character: For this course, I will be using the assistance of a sketch to help me build up the character. And this sketch was created using existing artwork. So let me show you what I mean. I'm going to come over here to procreate on my iPad Pro. And in the gallery you're going to see a few different projects here. I'm going to tap on this 1 first, just to show you this original artwork was created for a character animator course and we'd eventually use it for other courses. But this design was drawn by Jimmy mills and it was created directly inside of Procreate. So while going through this course, I thought we would continue to use this character. And so what I did was sketch out a version of this character using Jimmy's original artwork. But the purpose of this is to kinda show you that you can take a sketch, presumably a sketch that is of a new character and not of existing artwork. Bring it into Moho and build it from scratch using the vector tools. And then of course, if you want to go to the next step, eventually rig and animate it up with bones and then animate a cartoon. So hopefully that makes sense. You'll find this sketch inside of your work files will be importing it in the next video. So we can jump in and start working with MOHO. 3. Importing Sketch into Moho: For this video, I am inside of MOHO and I want to open up a brand new document. By default, when you open up Moho, you'll probably be greeted with a welcome screen as well as an example file. To create a new document, simply use Command or Control N if you're on Windows. And this will set you up. You can also create a new document by going to the File menu and then choosing new. With the document setup, we want to go in to the document settings. To do this, you can use Command Shift P or Control Shift P if you're on Windows to bring up these settings. And here we're just going to make a few adjustments to the dimensions and the frame rate if we need to. And here we're just going to make some adjustments to our dimensions. On the left, you'll see it's currently set to 720 P. I can click on the drop-down menu and change this to 10 ADP, just to give us a resolution boost. And of course you can go higher than this. For k is definitely an option, as you can see, or you can use your own custom dimensions just by typing them in right down here. But we'll stick with 10 ADP at 24 frames per second. And once you're good there, you can click Okay. And the document is set up to import the sketch that we created. Simply use Command Shift Y or Control Shift Y if you're on Windows. And this will bring up the import prompt. By doing this, you can import any file that Moho will recognize. So we're just going to come in here and locate the appropriate folder where I have my course materials. Which in this case it's right here. And we have the original sketch right there. So I'll click on that and then choose Open. You can see the sketch is now in view. And using the Layer Properties, I can just come in here and resize this so that it fits the screen. And we can now use this as a reference moving forward. When it comes to drawing and molding are points inside of mono. 4. Designing the Head Base: For this video, we are working off of O2 chat vector dot Moho. Feel free to open up this file. We now have our sketch on the canvas and we set up our document. The next step is to dive in and start adding points so we can start molding out this character. First. If we look on the Layers panel, you'll see that we have a default layer, layer 1. And we can use this to draw out the head. Let's just grab it and bring it above the sketch. That way we can see what's going on as we start to add endpoints. And for the sake of simplicity, let's right now and just click once on layer one and rename it to head. Once you have that, we can move over and start laying out the points. To zoom in on your Canvas, you can hold down, shift the right mouse button, and then drag to the right to zoom in. And you can move to the left to zoom out. But in this case we're just going to zoom in and you can hold down the right mouse button to move the canvas around. So in this case, we're just going to position it right about here. Now, we can grab the Add Point tool, which is a on the keyboard, but it's also this icon right here. And let's make sure that auto weld is turned on. We can keep the other items off for right now. Starting at the top of the head, we're just going to click and drag and move it down to about right here, and then release. So now you have a straight line. Let's click from this second and drag again. And as you can see, when I do this, it alters the way the first line looks. It's still not quite right. But don't worry, we plan to correct that here soon. So we just want to place a third close to the back I and then move down again in place. Another point right down here about where the cheek is. Place another point where the chin would be. And then come up. And we can place another one close to where we think that she could be or at least the jaw line. So right about there. And now we got to focus on the ear, which isn't a big deal. We just can come up here and apply a point like that. Come up here. Apply a second. Perhaps apply another one next to that one. And then we can come down and apply our last point for the ear, allowing us to create a shape. And again, it's not perfect, but we can correct that here once everything was in place. So now we're just going to bring up this once again and kinda match it with this point in terms of where it's at and height. So right about there. And then we can come up here and attach to the top, like so. And once we do this, we're going to hear a click. And now this shape or the wireframe for it at least is complete. We don't have anything drawn out yet, but we can change that here soon. The next thing I want to focus on though, before I start drawing in different vectors. Is the way the lines are shaping up. As you can see, certain lines just are not going along with the original sketch. This line right here is bowing inward and it's just not quite right. Luckily, if you hit C on the keyboard or if you select this tool right here, which is the curvature tool, we can come in here and adjust the Bezier handles so that they're more accurate too. The original sketch. You could also place additional points to help this out. But let's go ahead and just try using the Bezier handles first. If you click and drag on these handles, you can see as I start to move things around, I'm able to adjust the way the shape looks. Also, if you hold an Alt, you can adjust either one side or another if you're looking for a particular shape. So as I'm holding Alt, as you can see, I'm moving these up to make this part of the head more in line with the sketch so that it looks straighter. And I can bring this Bezier handle up a little bit to help connect with the original sketch lines. And the same applies for the ear. I'm just going to come in here and move this Bezier handle up. You can see that it's correcting that curve. And I can bring this one down as well. And so once again, you're just going to come in here and try to put things in where you think they need to go using the sketch as a guide. Now of course, you can take liberties to this if you wish. But if I were to click off the curvature tool and even hide the sketch, since it's a little bit hard to see some times when you're working this way, you can see that the shape of the head works out pretty well. There's a few more things we need to do here. Next, let's fill in the shape. So what I can do is come over to the Create Shape tool, which is under fill. But you can also use U on the keyboard to select it if you wish. And what this will allow you to do is select multiple points. And if all of these points connect together to form a shape, you can then fill in or even apply strokes to the wireframe that you currently have setup. So to easily do this as we have it set up right now, if we use Command a or Control a, we can select all points on the layer with the create shape tool selected. Now at the top, you'll find we have three options for filling in, stroke, fill or both. In the case of this course, we're going to do an outline along with a fill. So we'll click on both and you'll see that the preview now changes to a checkerboard pattern in the shape, signifying that we're going to fill it in. So what are we going to fill it in with? Well, if we come over here to the fill options, we can set that up. I'm going to bring the opacity all the way up so that the color is solid. And then coming in here, we're just going to pick out a skin tone for our character. So something like that. And then we can click okay, for your stroke color. I'm just going to keep that as black. And then for the width, let's come in and adjust this to two and see how that looks. So once you have all that set, you can come up here to the top and click on Create shape. It's going to apply those parameters from the style panel over to the sketch. And if we look now you can see that everything is filled in. If I click off, you can see that we definitely have the outline and the shape and place. Now one thing I want to do is adjust the thickness of the line because I think it could be a little bit thicker. I'll click on this lock shape tool and then click on the outline here. And anytime, if you click on the Select Shape Tool and then click on a shape you've created. You can come in and adjust it. So in this case I can click on the shape, go to my style panel, enter for, for width, and then hit Enter and you can see it updates. And now we have a width that's more in line with what I want. We have a couple more details to cover with the head. Let's go ahead here first. And I'm actually going to hide the head, which might seem counterproductive. But when you do this, you can still access The outlined that you set up with your points. And I want to once again grab the Add Point tool. While on this layer, you'll see that we actually have a second piece of the head right here, and that is the back ear. We could set this up on a separate layer, but it doesn't hurt to also just place it right here. If I click, I can move out and apply a point, and then click and move down and apply a second, just like that. Coming in here to the curvature tool. I'm just going to bring this up and then this down to help balance out the curve of the ER to make it more and mind with the original sketch. And I can also move that point up just a little bit to even adjust the shape further if I feel it's necessary. So now, while we still have it in this mode, let's look at some other things we can add to the head. We could add in the lines from the ER detail right there. And we could also add in the nose line. So using the Add Point Tool, I'm just going to come in and add some points for the ear, the inside of the ear, just like that. And we'll fall down with that one as well. And we have a little detail right here. You can see we added some details in from the ear on that side, so I'll just add a little line in like that. And then we can come in and fill in the nose. Come over like this, and get that knows established. We have a little bit of a jumble here at the lines. You can see it kinda does this little dip. Once again, you can come in with the Bezier handles and just make the corrections as you see fit so that the lines are more appropriate. So now if we reveal the head, we can see these details. And we need to create shapes for these three new areas. First, click on the Create Shape Tool or U on the keyboard. And with lasso mode enabled at the top, just come down and select the ear. You want to select the three points that are next to the head. And then just come up and around like that. And you'll see now it's selecting that particular shape, which means we can come in and just click Create shape to establish the ear. Now one thing about this is the detailed lines are a little bit thick. So I can come in here and make some adjustments to that if needed. But I think I'm going to leave it for right now. And that's something I can do in my polishing section. Let's jump back here to the head and just finish up really quick by creating these additional shapes. So now we're going to do the nose next. I advise turning lasso mode off and just selecting it like so. And then we can click on Stroke at the top and then create the shape. But I also might come in here and reduce the size of the nose. Since I have it selected right now to perhaps two. And then we can come over here and just select those points. And you can select multiple points at once by holding Shift. So if I select that one, I can hold Shift and then select those two and keep selecting points until I have all the points that I want selected. And then I can create the shape. And there you go. We've now molded the head. We might have a little bit more work to do with it, but it's a good start and will allow us to continue building up the different assets. Will pause the video here and up next, we'll move on to drawing and masking the eyes. 5. Designing and Masking Eyes: For this video, we are working off of 03 Chad vector dot Moho. Feel free to open up this file. We're going to dive in and now tackle the eyes. First. Let's hide the head vector so that way we can see the sketch and we can reference the eyes. Next, I'm going to create a new vector layer. And I'll name this one eyeballs. And then hit Enter, hit S on the keyboard to select the Draw shape tool. And I can use the oval from the top of the list. And we can turn on autofill in auto stroke. That's fine for this part. Let's come over here to the style panel. And for Phil will change it all the way to white. And then click Okay. And then for the stroke, we can keep it set to black. For the width. I'm going to change that to two for right now. And then we can zoom in and start our process. Starting with the front I, I'm just going to click and drag and move down and fill in the shape as close as I can to the sketch and release. Next, let's click on the transform points tool to ensure that we have this shape selected. And then use Command C or Control C if you're on Windows. And then Command V or Control V if you're on Windows to copy and paste. And then holding Shift, I'm just going to click and move this to the left by holding shift at Locke says to the x-axis, so we can't move it up or down on accident. And we're just going to move it right over there. Now using the transform points tool again, we're just going to come in here and start to resize this. And this one's a little bit more squished due to the perspective. So we're just going to come in here and try to match it as close as we can to that original sketch. And this is looking pretty good. And there we go. So now we have the eyeballs established. Let's hide the eyeballs really quick and create some lids. I'll make a new layer, make it a vector. We'll name this one top eyelids, and then hit Enter. Now using the draw shape tool, once again, S on the keyboard. I want to come down here to the layers panel and just reveal the head really quick. And then grab the eyedropper or L on the keyboard. And just come over here and click on the head. That's going to bring all of that style property information back. So that way we don't have to reselect the skin color and all of that. So now we're going to hide the head once again and we're still on the top eyelids. Now one more thing before we draw these out, Let's click on fill one more time. And using the color picker, I'm going to drop the color a little bit just so it's a little bit darker than it was previously. And then click Okay. Once again, using the draw shape tool S on the keyboard, we'll select oval with auto-fill and auto stroke selected. And let's change the width to two. Actually, let's go with 3. So with the width at three, I can come in and just draw out an oval like this. And this kinda bring it down like so. Then using the Add Point tool, come in here and we're just going to add two more points to this shape just like that. And then taking the transform points tool, we can come up here and start to adjust this so that the lid is curved up like so. And if we were to bring the eyeball back at currently looks like this. Now you might be wondering, well, this isn't looking that great. Well, we still need to do the masking, so don't worry about it. And right now I'm going back here to the eyeballs and change my width to three because I originally had the line set to two. But looking at it, I'm kinda thinking I want to go back to three. So we set it back there for right now. With the first top eyelid established. We're just going to do what we did before by copying and pasting it over to the other eye. So grab it and then Command C, command V, copy and paste. And just bring it over like so. And we can place it just like that. And the bottom eyelids, we're going to cheat even more. With top eyelid selected. We can duplicate that layer, rename it bottom eyelids. And then coming over here, we can click on the transform layer tool. And at the top, we have the ability to flip vertically or horizontally with these layers. So we're going to flip vertically. And because the origin point was a little bit offset, you can see it kinda flipped down like this. It's not a big deal. We can just bring it up and get it established. Now, the bottom eyelids are not going to be as obvious as the top ones. So I'm going to hide the eyeballs and then using the bomb eyelids layer, I can just bring these up to get it close to where we have it with the sketch. And again, all of this can be modified as we continue moving along. But this is looking pretty close. And then you have your eyeballs just like that. Let's create some pupils next. The pupils should be below the eyelids so that way, if they move up or down and intersect with the eyelids, they will appear behind. So for the pupils layer, when I make this, it's going to be a vector. I'm going to place it below the bottom and top eyelid layers. And we can name this one pupils. Using AES for the draw shape tool. I'm going to come in here and disable auto stroke. So that way I'm just creating a filled oval. Coming over here to the style panel, I can drop the fill color down to black and then click OK. Starting right here with the sketch. And it's going to come in here and it doesn't have to be exactly the same shape, but just come in and draw something that looks similar to the sketch and bring it up like so. And then like before, we can use Command C and then Command V to copy and paste and bring the pupil over here. And we could even shrink it a little bit just to kind of help with that perspective with the back I so now when you put it all together, you have something that looks like this. So there's one more step we need to take to make this work, and that is masking the eyes. So with bottom eyelid selected, holding Shift, click on eyeballs, and then right-click group with selection. This will throw everything into a new group. You can name it iss and hit enter. And then we want to double-click on eyes to go inside of the layer settings. The fourth tab on the top is masking. If you click on this, you'll see that we have three options under Group Mask. We want the last option, Hide All. So click on that. And then you can click Okay. You'll see what happens here is with the group. We are now masking everything and everything is adhering to the eyeballs. There's only one small problem. And that is we don't have stroke lines for this mask, but luckily that's easy to correct inside of MOHO. Just double-click on eyeballs to go inside the layer settings and then go to masking. And here at the bottom you'll see we have exclude strokes. Just click on that and then click Okay. Strokes are now back in place and everything is looking good. So from here we can make some more adjustments. I kind of feel like we could bring these points out just a little bit more to help with the curve. And go to the bottom eyelids as well and just do the same thing. Make sure we select the point and just move it up like that. And there you go. And you can see that this one's looking okay, since a has a smaller area to work with, but that's looking better. And of course, as we move on, we will be polishing up different elements as we see fit. And we'll probably even dedicate a whole Section two polishing just because it is a big part of the process. But as you can see now, our pupils are in place. And the benefit of this is when we rigged them up, when the pupils move, you can see now that they don't go onto the face. It because of how they are set up with layers with the eyelids. They go behind the eyelids as well. And it just makes animation a lot easier. So we'll pause here and up next, we'll keep building up the face. 6. Drawing Eye Brows: For this video, I'm working off of o for Chad vector dot mono. Feel free to open up this file. We're now going to continue building the face. And we're going to focus on the eyebrows, which is actually pretty simple compared to the eyes. First, let's come over here to the Layers panel. And we can hide everything under eyes for right now since we don't need to deal with that particular group. And then come up and choose new layer. And then vector from the list. And we'll just name this one eyebrows. And then hit Enter. Make sure you have the head layer also invisible. So that way you can see the sketch and you can easily place down the points for the eyebrows. Grabbing the Add Point tool. We're just going to come in just like we had before. And I can create a straight line going up like this. And then another one going down like so. I'll come in and add a bend like that and then one more to cap it off. Now it's not going to look great given what we just did. So we need to come over here to the curvature tool. Click once on it or you see on the keyboard to select it. And then use Command a to select all of the points using the curvature tool. At the top, we have the ability to adjust the curvature numerically. And just by using my mouse wheel, I can come in here and go up and down. And as I move the value down, you can see I am creating a straighter edge for the eyebrow. Now, I could come over here and just do a complete peak and that will make it all straight in set everything to 0. But I actually want a little bit of a bend. It doesn't have to be much. Perhaps at around 0.08 is where we can set that bend. And you could also come in here and adjust individual parts of it. So if we wanted to have more of a bend at the top, I could select that top point and then come in here and tried to expand it out like this, which actually I think will work pretty well. So we can come in there and just move it down and get it all situated. And I think that's looking pretty good. Next, we just need to come in here and color this in. So we'll just use the Create Shape Tool Command a to select all the points. I can click on both. And then come over here to my style panel and get the appropriate color here. Let's come in here and I'm kinda picking colors right now. We might adjust these colors later on, but a darker orange should work. And then I can create the shape. And I'm also using a black stroke at a width of three. So now if we click off, we can see it currently looks like that. Let's click on this shape and then using Command C and then Command V. So copying and pasting. We can move this over. And coming up here to the top on the toolbar, Let's go ahead and flip these points horizontally. And then just bring it over like so. We could also come in and maybe just resize it a little bit again just to kinda help with the perspective of the face. But we don't have to do too much with that. This should be good enough for now. And there you go. We now have our eyebrows set up and good to go. We'll pause here and up next, we can move on to building up the hair. 7. Drawing the Hair: For this video, I'm working off of 05 Chad vector. Feel free to open up this file. We're going to continue on with building the character and we're going to focus on the hair. So coming in, let's create a new layer. And this will be a vector. We can place it above the eyebrows. And I'll just name it hair. And we can click. Okay. Now, using the Add Point tool, we're just going to come in here and start adding points to help create the hair. And this is probably the most complicated part of the character. So let's just start at the top. And I can click and drag, go up like that, and then come down like this. I want to simulate all these bumps in the hair. So every time we have a bump, it'll be made up of three points. You have the end and then you have the middle part, and then you have the second end. And it's just a matter of coming in. And just adding in these points. You'll notice that I have some lines that kinda go down like this. We will be adding those in, but let's just focus on the main shape of the hair for right now. So I can come down like this and create this bend using a few points and then come up and over. And just keep filling in these points to flesh out the shape of the hair. And again, when you're working with these sketches, it doesn't have to be a 100 percent perfect. You can make liberties if you feel it's necessary. Now we have this strand of hair, so we're just going to come in. And we could make this a separate layer if we wanted to, but I think it's okay just to include it all in one. So we can come in here and just kinda come up like this and go around. And then you can see we have this other line that sort of creates that strand. But for right now we're just going to focus, as I said, on the main shape. So I'm just going to come in and keep working. And here we can start to move down. I'm going to try to add in some bumps from the side of the head here where we have that hair from the original sketch. Just like that. And then it's going to come down. And am I adjust that border here once we have it all filled in. But for right now, I can just add in some points in then just keep building this up. So getting closer to where we need to be with this. There we go. So now we have connected the shape and you can see we have something that looks like this. The next step is to fill this in and then compare the line work. Using the Create Shape tool. I can use Command a to select everything. And before I fill in the hair, I'm using the color from the eyebrows, but I'm just going to bring it up Little Britain, brighten the hair up a little bit more. And then I'll also set it to four for a width and then create the shape. So now you have something that looks like this. Of course, it is not perfect. We'd still have some little things to work out here. Let's go ahead and hide the hair so we can just see the outlines. And you can see here that a lot of my line work just isn't quite matching. Ants a little bit loose compared to the original. Using C on the keyboard, we can use the curvature tool. And then come in here and start playing with the Bezier handles to get these shapes closer to what we want. So again, if you come in and just start bending things around, again using an alt key to really fine tune those corners so that way you can adjust both as you see fit. You can just come up like that. And anywhere you see a discrepancy with the line work, you can just come in and start to bend these things so that they're a little bit more appropriate to the original. And of course, whatever liberties you want to take, perhaps you're working on this and you think of something that would be really cool to implement in terms of how the hair looks. That's absolutely fine. The sketches just there to kinda help you. Don't be afraid to try different things. Go off the beaten path. The sketch will always be there for you to look back at. If you need to get back on track, if you're lost, whatever the case is. It's a coming down here to this one. I could just tighten that one up a little bit more. Just coming up here. Take a look at some of these. Bring that one up. I can bring that one up. Perhaps. Shrink that up a little bit, and just try to get the overall shape down here. Move that down there we go. And when you work in MOHO like this, it really isn't a matter of drawing it. You're kinda does molding points, ends. So it's kind of a different experience compared to drawing on your iPad. And it's one that's always kinda fun to come back to whenever I work on projects like this, just kinda different. So we're getting closer here. Bring it down and up, down, up and down, like so. Okay, This is looking pretty good again, I'm just going to sharpen up some of these edges. There we are. And there we go. And I might add one more point here and bring it down like this. And then bring that one over. Just to kind of add a little bit more tightness to this area there. So now if I come back, you can see that it's looking a little bit better. And ultimately I probably will have to go in and do some different things to polish this up more in terms of smoothing things out. And if you really can't tell, You can always use Command R to gauge your render so far and you can see it looks a little bit smoother once I render it out, so I think it'll work out. And of course we have to go in and add different details and eventually the shading and the highlights. So all of that's coming and I think that'll help spruce things up. But for now, we have the basic shape of the hair in place. I will pause here and up next, we will keep building up the character. 8. Designing the Ponytail: For this video, I am working off of 06 chat vector dot Moho. Feel free to open up this file. We're now going to dive in and tackle the ponytail, which will be very similar to how we handle the hair. First, let's come over here to our Layers panel. And I'm going to make a new layer. It's going to be a vector. And I can click once on the name to rename it to ponytail and then hit Enter. We can place the ponytail below the head. And we'll grab the Add Point tool to start adding in our points. Make sure your head is turned off or invisible. So that way you can still see the sketch. And on the pony tail layer, I'm just going to come in and start adding in my points. So once again, you're just going to pay attention to the curves and just place 1 down for every part of the curve. In this case, I'm doing something a little bit different. I'll make some adjustments here before. It's all said and done. But we're just going to come in here and try to get all these little waves and points and rounded off edges in this come up like this. And then we're going to come in like that. Now at this point, you probably don't see the hair all that much. So you don't have to worry about too much what it looks like behind the head, just as long as everything is appropriate over here. And I'm just going to come in now using the transform points tool and just make some quick corrections and then take the curvature tool and go even further with it. So just keeping on with everything here. Just going through and adjusting a little point right there, which I might actually described the transform points tool move down and move this one up and down. Just kinda make some adjustments like that just so it's a little bit more close to what I originally sketched out. And again, you don't have to adhere to that, but in this case I am. So we'll just keep going like this. Ensuring that everything is looking good. Move things in a little bit where appropriate. Just keep working with the Curvature tool to get everything in place. Let's grab this and move it up. There we go. Okey-dokey. So that's looking pretty good. Of course, there are some details such as line work that we could touch on, but I'll cover that later along with the line work for everything else. So we can click on the Create Shape tool, use Command a to select everything and using both, making sure that you have the fill color the same as your hair, as well as the stroke and a width set to four. Just come in here and create shape. And we now have that set. And if we bring this back, you can see this is what it's shaping up to look like. Awesome. So we're getting close to finishing up the main portions of the head. I'll pause the video here and we will finish up working on the mouth in the next lecture. 9. Drawing and Masking the Mouth: For this video, I'm working off of 07 Chad vector dot Moho. Feel free to open up this file. Like the eyes. We're going to create a mask for the mouth. So that way, it's easier to design the interior of the mouth, as well as animate things out later on. And we can set up the mouth so that it is using smooth interpolation between different phases, which is a benefit when working with vectors. So let's go ahead and create a new layer for the mouth. I can click on the new layer button and choose vector. And the first thing I'll do is name this one opening and then hit Enter. And let's bring opening just above the head, like that. Zooming in. I'm going to hide the ponytail just so it's easier to see the whole mouth sketched out. And we're going to start with the opening. So just the outline of the mouth. Grabbing the Add Point tool with auto weld turned on. I'm just going to come in here and starting at the top left of the mouth, come in. We'll add a point in the middle and then come up and add a second like so. And then come down to the middle again. And then back up. And we can release. Let's come in here with the curvature tool. And just by adjusting these handles in holding Alt when doing it, I can come down like this and just bring these things over and try to get closer to the original shape of the mouth. And once again, if you're having issues with this, you can also add more points. But we should be able to get pretty close just by coming in and doing this. So there you go. There is your opening. We can fill this in. So let's use the Create Shape Tool. Use Command a to select or control a. If you're on Windows. I'll reduce the width 2, 3, and 4, the fill. Let's make it a dark red. So something like that. And then click Okay. And then you can create the shape. So if I click off, it looks like this. Let's hide the opening. And now we're going to zoom in a little bit more. And we want to work on the teeth as well as the tongue. Creating a new vector. I'll name this one top teeth and hit Enter. Grab the draw shape tool. We can turn auto-fill and auto stroke on for this. And we will select a rectangle. Go over here to your fill color and select a color for the teeth, as well as black for stroke or whatever you plan to use for your stroke. And we'll keep the width at three. And starting at the top, I'm just going to trace over the original despite coming in here like this. It's not going to be perfect. So what I might do here is add in a fifth for the rectangle on the bottom, just like that. And then grab the transform points tool and just bring it down like so. And then you can kinda bring these out a little bit like that. Like we did with the lids. I'm going to duplicate the top teeth layer and rename it to bottom teeth. And then we can grab the transform layer tool. And just to make this easier on ourselves, let's set the origin. If you click on Set Origin here, you can click on the teeth. And if we click on the transform layer tool and then come up here to the flip vertically option. You can see that we don't have to chase the layer since we set the origin point, It's not going all the way off the screen. And now I can just click this and move it down about right there. And we're also going to come in here and adjust the shape of this just a little bit. And we'll be able to adjust this more once we get the masking in place. But for right now we have that in place. And then we need the tongue. So come in here, create the tongue. Grab the oval. And we can set a color for this. So I'm just gonna do a brighter red than I had before. And just come in like that. And we have the shape and we can also do some line work there later on. But let's also bring the tongue below the teeth so that way it's more appropriate. So now I'm going to re-enable the opening. Click once on opening, holding Shift, click on bottom teeth, right-click, and then group with selection. Click once on layer 11 and rename it to mouth. Double-click on this new group. Go to masking. And like the eyes, you're just going to select Hide All. And then click OK. Last, double-click on opening. Go to masking, come down to exclude strokes, enable it. And then click. Okay. So now we have a mouth setup for the character. And it's masked and it's looking pretty good. From here though, you could go in and if the shape isn't quite right, you can see now it's much easier to refine how everything is looking. So you can definitely go in and make adjustments if needed. But I would say for right now this is looking good. When we get to the polishing phase, we might try a couple other things. I just kinda depends on how we feel in what's going on. There we go. We now have the mouth established. And if we come in and just reveal everything so far, you can see that it's looking like this and we definitely have the start of something here. So the next step is to move down to the body and keep building the main pieces. Will pause the video here, be sure to take a break and up next, we'll keep building the character. 10. Conclusion: Now that you've gone through the process of designing your character's head. The next step will be to design the body, as well as any other features you may want to include with your character. From there, you can use the bone system to rig up the character and prepare him or her for animation. And there'll be covering all of that on this platform. So be sure to check back often. And in fact, it might already be available depending on when you're viewing this. Anyway, I hope you found this helpful. Thank you for watching and I'll see you next time.