Drawing and Designing Creatures, Monsters, Aliens, & Legends | Ed Foychuk | Skillshare

Drawing and Designing Creatures, Monsters, Aliens, & Legends

Ed Foychuk, Making Learning Simple

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19 Lessons (6h 5m)
    • 1. Creatures Promo

      1:12
    • 2. Creatures Introduction

      2:20
    • 3. Bonus Paws Claws Talons and Hooves

      22:31
    • 4. Bonus Simplified Human Skeleton

      26:25
    • 5. The Minotaur

      26:00
    • 6. The Kraken

      17:46
    • 7. The Griffin

      23:33
    • 8. Gogmagog Ogre

      21:50
    • 9. Aliens

      22:20
    • 10. The Centaur

      24:54
    • 11. The Swamp Creature

      18:18
    • 12. The Werewolf

      25:50
    • 13. Dragons

      42:56
    • 14. Chinese Dragon tattoo

      46:57
    • 15. Dragons Bonus

      17:39
    • 16. T Rex

      24:00
    • 17. Stegosaurus

      19:11
    • 18. Pteranodon

      19:03
    • 19. Velociraptor

      19:03

About This Class

Welcome to  Drawing and Designing Creatures, Monsters, Aliens, & Legends

Have you ever struggled with creating a creature that looks right? You know, that perfect balance between your imagination, and reality? Something that could easily be pictured stomping through a city squishing innocent masses? lol

Well, this course is for you! In this class, we learn how to apply real world lessons to the fantasy. We combine the beasts and legends of old, with actual, practical, examples.

So join me, and let's get to creating some really awesome stuff!

This course has the following units:

  • Bonus - Paws Claws Talons and Hooves

  • Bonus - Simplified Human Skeleton

  • The Minotaur

  • The Kraken

  • The Griffin

  • Gogmagog Ogre

  • The Centaur

  • Aliens

  • The Swamp Creature

  • The Werewolf

  • Dragons!

-Ed

Transcripts

1. Creatures Promo: Hey, guys, I'm Ed for Chuck. And this is how to draw creatures, aliens, monsters and legends. Have you ever struggled with creating a creature that looks right? You know, the perfect balance between your imagination and reality, something that could easily be pictured stomping through a city squishing innocent people. Well, this course is for you. In this class, we learned how to apply real world lessons to the fantasy. We combine the beasts and legends of old with actual practical examples. So join me and let's get to creating some really awesome stuff. 2. Creatures Introduction: Hey, what's up, guys? Head here. And this is my course on how to create creatures, monsters, legends and aliens. Did I cover everything? I don't know. This is a kind of a big smorgasbord of, like, everything in there, right? Ah, listen, in this course, what we're gonna cover is, you know, everything's from the crack into the griffin to, you know, different alien body types, two dragons even aware Wolf. And how we're going to do it is we're gonna look at basic construction of some animals that kind of help us figure out how we can see the functionality in, um in these creatures and stuff, right? So we're gonna break down different animals and see how they would work and function. And we're gonna try to apply that to our creatures. We're also gonna look at humans a little bit of human anatomy and bring that into the mix as well, Right? Seeing held out works as well in this course. What I would recommend is that previous to it. If you've covered my if you're taking my human anatomy course or if you've taking my animals course, both of those courses air really gonna help you in this. But I got to say they're not needed. You don't have to take them. They'll just get kind of give you a little bit of a leg up and stuff, right? What I've done here is at a few bonus lectures into this course, um, the simplified human skeleton. Some of you might remember that. And paws, claws, talons and hoofs to really cover the whole base of different feet approaches when it comes to animals and stuff. Okay, guys, if you've been wanting to create your own monsters to figure out creature creation and all that kind of stuff or to draw something from the storybooks, this is the course for you. Be sure to jump on in. Let's get to it. 3. Bonus Paws Claws Talons and Hooves: What's up, guys? Head here. And I've got a bit of a bonus video for you. Well, what I call it a bonus video. I don't know. It doesn't really fit exactly in any other video perfectly. But I think it'll be good for us to look at, right. We're gonna look at paws, claws, talons and hoops. I feel like I should make some tape of song or rhyme out of that anyways, Uh, yeah. You know, there's enoughto get into on the other units that this is easy to overlook. Um, so I wanted to spend some extra time just on feet basically right. And that's what we're gonna look at to start here. We're gonna look at some human feet if you've taken by a human anatomy course. You know, I go over feet a lot more. Um, but I think I try to use human feet as a bit of, ah, a starting point so that when we're talking about animal feet in someone that we can have kind of this jumping off point because there are some similarities. Not, not always, but there's some things that will make sense to us once we get into it. Right. Okay. So we could see the late coming down here right where this is the skeleton of a human foot . Right. We could see the ankle across here. We see the hell here. The main bridge of the foot, the toes and the plate down there. Now, if I was to draw this in, um, maybe it would be something like this. I could have the hell here. The ankle. Somewhere up here, this might come up something like that, Right? This is the outside of the foot. So this would actually be something along those lines. The inner sweep would be on this side because we can see that there's a big toe here, right? And then we'd have the digits from there and so on. Right? Something along those lines. Okay, so that's an ugly foot, right? Um, why am I drawing this ugly foot for you? I guess I could make it prettier. Put some toenails. It was because I want to show you how it's related to the 1st 1 we're gonna look at. And that's pause like, say, a dog's paws and stuff. And you can see that, you know, we're starting to look a little bit similar, but it's ah, it's still differently. So what I'm gonna do instead is I'm gonna do it this way. I'm gonna put our ankle there and are hell here and then come down and do the toes here. Now, what does this look like? What is this starting to resemble? You know, somebody in high heels or something, or up on their tiptoes. Right. Okay. So you can see how the ANC would be here. The the leg would be coming down. The hell here comes down into defeat, the toes and all that kind of stuff. Right? Okay, so we've got this ankle is a landmark, right? We've got this hell as a landmark, and then we've got the toes. Uh, if we look at the bones here, we could see how they bridge out like this. We don't normally think of the bones of the foot in this way. We more think of the digits because they're recognizable structures. Right? That kind of separate out from the foot. Now let's look at it here. Same kind of thing. We've got a dog's leg coming here, so it actually kind of often comes back like this, right? And we could think of this as the ankle, you know, come down into here. And this is where we would think of as the bottom of the foot. But it's not in a dog's foot. What they do is, actually they'll touch here. This bottom pad came. So whether we're dealing with wolves, dogs, whatever this this kind of pau type thing, right, we're gonna come down here, and we're going to see all these bones in here. You know, here's a solid bone here, but it starts to branch out much like how it branches out in the human foot. Right. Then we've got ah, branching out once again to toes and then out to the clause. So if we're drawing this out, you know, it might come down here. You might get a little bit of a spur back here, depending on the species, right? For the hell you get some kind of spur back here, comes down into here and then into the Paul itself. Does that make sense? Right? Andan? You know, you could show the difference of the individual digits and stuff like that and everything, right? So hopefully that makes a little bit of sense there. Um, let's see if I can draw it for you from a few different angles here. So I've kind of drawn it from the side here. Right, Um, from the front, you know, honestly, it's it's easier to start kind of like this. Go with the middle line and then the digits off to the side of it, right, And then you can come up. Okay, then he'll think you want it. Um, you could also go, Let's say it's bending. You can bended in. I haven't come forward and then put the pawn here. So it's kind of coming like this, as if as if, Um actually, I wanted to bend this way. So it's coming this way comes up and this So as if the pause reaching onto ah ah bit of ah , platform or something like that, right? Okay, um, and if we look at the underside, the paw, usually it's It's pretty simple. You know, you could just draw it as a circle to start. There's the main pad and then four other pads that go with it so you can kind of come out to that. Come around, come in and then come out to the leg and stuff. Okay, so that's a paw. That's a general part, right? Hopefully that makes sense for you. Um, I touched it in some different sections. Kind of roughly from a distance, but hopefully getting up close to it will help you a lot. Right now. What's the difference between upon a claw? I'm sure that as wall just would have a better definition than me, but for me, how I kind of separate those two, at least when I'm drawing is retract ability. The the claw, the nail retract ability and stuff I get. So when we see a cat or a cat type of animal, right, we come down to the same kind of structure we come down into the bony structures of what would be the foot or hand write and out into the individualized digits. Right. Okay, so we've got the individualized digits here. We've also got this side branch here. It comes off and it's got a second claw on it. If we look at it from the bottom here, we can see 1234 And then this side won. And they've all got hidden here. Retractable claws. So when when you see a dog's pattern as they're walking, what did we have it? We had 1234 right? We can often see the ticks of the of the nails coming forward when a catwalks right? 1234 And maybe we'll put a one off. Decide there's no extra ticks. It just is the print and stuff, right, because those those claws are retracted. So if we're gonna draw the same thing, we had come down to the to what I call like the ankle or wrist or something like that down into here and then out into the different units or digits, right? Okay. And then you can start to add in, you know the details of it. You can add this. These different parts into it, come up here, have this part, and then it comes up and make sure you give it some weight. Like if it's grounded or something like that. You can give it a bit of weight there and stuff wherever it's pressing down, and it can come something like this right, comes up like that so you can give even more volume on the top if you want. What I like to do is really kind of bump it out a lot more, giving a lot of volume on the top because, you know, even though we're looking at the bones, we know there is meat. But with animals, it's not just the meat. You know, the meat and muscles and tendons and ligaments that Aaron in the the claws and paws and all that it's the for that's often on it. And so that for really gives it this extra volume that you've got account for. When you're when you're adding in, you add in a lot of extra volume, right, so you can add all that extra volume into it and give it some thickness and stuff as it comes down cool. So once again, you could draw it from different angles. What? What I like to do is basically, you know, do the same thing here from the front. Um, you could divide it up and stuff, but then you put the slits for the various retractable claws, right and have a go up and come. Um, if you want to, you can get more detailed into it. Like if I want to zoom in a little bit here and start to really kind of rough it out. You know, I can put this slit in here, Start toe. You know, add the hair in and kind of detail ing a little bit more of these individual to hose, you know, kind of coming in here and stuff. You can see the split where that where that nails gonna come in. Right? And it's like I said it. It's good to add that extra volume when it comes to the the for right. So this could come up and kind of come up this way and depending where the hairs hanging and stuff. And you can add that that extra digit sometimes depending on the species, its location and stuff. It might be something along those lines, right? For that extra grip. So hopefully that helps you a little bit with claws, right? I don't want to do it from any other angle. I don't know. I think you kind of got it now. Right? Ah, One thing I would like to add, though, is like, let's say it's grabbing onto something so you can have your Paul here, right? And uh, your digits coming out, right? And then that did you coming off the side here, and Kate comes up. Anyways, what I want to show here is that when the claws air not retracted, how they can come out and grip into whatever it is that the the cats grabbing into and stuff, right. Okay, so they're They're usually he's kind of very sharp, thinner, um, nails to it and stuff. Right. So you can come in here and detail it up a little bit and see I'll start on the bottom. Here. You have this split, right? With the hair adding hair for volume for I guess him coming here. And then we're gonna have this on that side. Um, let's see him. Maybe state constant here, come from this side. Come down. Usually, I like to draw these thin, you know? So it has imagined there scratching a surface here or something. Right. Okay, so this one's gonna come in like this, come in touching there, and then, you know, having that split of where it retracted from and comes out of right. You can have that split on the digit. Here we go. And there's are grasping cloth. Yeah, that'll work. I think that works pretty well. Okay, so we went on down, we're gonna talk about Talyn's a little bit. And, you know, when we're talking about grasping and stuff, right? Thes look, purpose built. Um, yeah. Okay, so we've got a thin leg coming in tow. What could easily be described as an ankle, And then what we're gonna look for is a Siris of joints, almost like knuckle joints. Ah, that kind of Sproat off of that. It usually imagine say, it's ah, three going forward, right? We've got this. We've got three going forward off the knuckle joints. And then we've got one in the rear that's going back home came then. We've got another knuckle joint midway, and then what I like to do is at the end, I kind of think of it as another knuckle on stuff. It's it's really not. But it's where the talents it's, and it's often has this bulge to it, and so the clause can come out of there and stuff. So let's see if we can kind of draw this. So what I would like Teoh show you is they will draw this as one, 23 Right. And if I kind of zoom in a little bit, we can have kind of, Ah, big bulge here, a bulge here and then a bulge here as it goes up into the whatever foot it's gonna be. Alright, there we go. And we can have the huge nail coming out of there so you can have your wrinkles. You can have your folds. Make sure you kind of put the folds around the nail coming out. It gives, you know instead of just like, uh uh, you know, that looks while as I drew it looks pretty ridiculous, but it looks really artificial and stuff, right. So you want to have your texture, your folds, all that kind of stuff as they lead up here. And then, you know, the stretch as it stretches back into the Maybe this is bottom section, and then it hooks down something like that. Does that make sense? Okay, lets see if we start toe Ben, things move things a little bit. Ah, from underneath. I wanted to show you a little bit that, you know, just like humans. We the the front of her hand is a little bit or the back of our hand is a little bit different in the palm. So you can kind of imagine that maybe the texture ring changes on some of these birds. Talents and stuff. I got that. It's almost ah, slightly. I don't want to say softer, because if you've ever had a ah bird kind of sit on you, um, soft would not be the work. You know, if you've got your arm out or something like that. But it's more imagine that you know, these air designed to bend in this way, right? So the skin folds Fold this way quite a lot, right? It's maybe on this picture it doesn't kind of do it justice. But you can use these kind of circumference folds to show how this would really come in and fold around, wrap around whatever it is, whether it's pray, whether it's a branch, depending on the bird or whatever, Right. And then, you know, the the claw could do that extra wrap around and stuff, right? So you would have your knuckle here, your knuckle here and you start to draw it in that way. Cool. And then looking at the top of it here. What I wanted to show was this cool texture ring. You know, sometimes when you're when you're drawing these different types of of feet, limbs, whatever and stuff you want to add to it by giving it that that realistic texture. Right? So we talked about the bottom. How the bottom doesn't have, you know, it's it's made for kind of bending inward, right? And so this outward exterior, you could see how these these cracks might allow for some flexibility for to bend out this way. We can't imagine them. These almost looked semi armored at certain points here, and so we can't really imagine them bending inward this way or anything like that. They would extend fold over. And yeah, the one thing I think of note here is you know, when you're, uh, dealing with talents and stuff like that is that you can almost I want to say enemy to hype , you know, use as a cartoon base. Ah, hyperextension. You know, as if it's coming in toe land, you know, you could ruffle the skeleton that this this foot is is swooping in, and it's got this hyper flow to it. right, It's It's about ready to wrap. And then when it hits when it hits, that's when you get that full wraparound, right? It it hits whatever target it wanted to. And these all these claws both from the back one here, right in the front ones. They they fully wrap around that poor little mouse here, I'll put little eyes in there for you. Okay, so, yeah, get the flow and function of the talents there and add a bit of texture to them. And I think he really got something going on there. And the last one we're gonna look at is safe again. Zuman properly Hopes, um, you know, whether it's a horse a minute or whatever it is, you're gonna find that, uh, you're you might want to learn to draw hopes and I find them super easy. Of course, we've got you know, the one towed 234 and everything like that. So they get a little bit more complex. What I like to do is start with this one toke, right? And just basically, I rough this section. So it's just like this. This and this from the side from the front, maybe even just a swooping down and coming up into something like that, Right? So you can think of it. Um, almost like a base of, ah, like a plant planter or something like that, Right? It just has this nice. It's usually wider circumference down towards the front, especially right. It's plays out a little bit and then narrower as it starts to climb its way up and we can see how we've got. Once again, we've got this coming down to what would be the hell that we're used to. But it's not. It comes comes further down, and then we've got this structure. So see if this looks familiar, right? It looks a lot like some of the animals that we were looking at previously room um, you know, and then we can start to divide so we can come, you know, come down here, come around and then divide for to tote. There can be different splits of it. This looks like a camel's toe. Right. Uh, I was gonna say no jokes there, but I guess you can't talk to me, right, But yeah, you can have different splits. Just a minor split, right and kind of go up that away Or it can be like, really like this is actually to toad, right? So this this step here is maybe that halfway in between getting into larger ones, we've still got joints, joints and then splaying out here, right? And then you can treat them all as individual ones. That's what I like to do, is is think of it. Here's one. Here's a 2nd 1 Here's the 3rd 1 and they come up to this base and then come up right and you can add the toenails and that kind of thing. And you know, eventually, once we start to get to these four, and I guess if you're going fantasy mawr, right, it almost looks like a base of a tree trunk. Right? And you can pick the one that is either angled or better and view to you. And then you can, you know, start toe, rough it in a little bit that away or something like that. Put in the toenails, give a little manicure whatever you need to do. Um, of course, you know what's important. Looking at the texture in here, we can see a lot of awesome texture in on these different animals, but, uh, that's gonna get a little bit more species specific. And that's not what I want to talk about. What I really wanted to focus on today were feet, paws, claws, talons and hoops. Okay, so I hope after looking through this unit, it it helps you a little bit in trying to construct them. If you've ever studied hands and feet and listen. I know, I know. A lot of people put them off, right? It's like, No, I don't want Teoh. I'll hide them. I guess you could hide all your creatures Animals pause in snow or mud or puddles or something like, but you don't want to because, you know ah, claw grasping on to something, Whatever has a lot of power. An animal lunging at you. These claws lunging at you really conveys a lot, right? So you want to practice that you want to practice being able to rough in the paw, rough it in in a circle way to realize that you know, the these digits are gonna be splayed to realize that the the the claws themselves, they're gonna be coming out at you a little bit and stuff I get right and then to start drawing it all in. Okay, um, texture ring is part of it, but I want you to understand the tech chewing more so in how it relates to how the how it functions. For example, like if there's a little bit of armor on one side, the armor will often restrict or block the folding. Right. Okay. So yeah, I hope this saw paws, claws, talons and hoops unit. I can I still cut no melody on that? No, no flow. I keep thinking of, like, lions and tigers and bears. Oh, my. Right. But it's not working for me anyways. I hope this unit was helpful for you. And yeah, if you have any requests, make sure you send in my way, way. 4. Bonus Simplified Human Skeleton: Theo. Hey, guys. Here's the bonus unit I mentioned. I'm pulling it from my how to draw comics anatomy course, but I really believe it's gonna be useful for you in this course as well. So what are we doing here? We're gonna work on the simplified skeleton. Yeah, I know. It's not looking all that simplified, right? Trust me, I'm gonna make it a lot easier for you. Okay, so the first thing we're gonna do is start to draw some lines. Um, all start from the tip of the head down through to the, uh, to the ankle or so and bisected that way. Right? Okay. And what I'm gonna do is cut it in half. So let's say I've got at the top here. I've got you know, this line here that's the top. And down here around the ankles or so is the bottom, right? If I was to cut this roughly in half, it would be somewhere around here, right? That looks about right now, what we're doing here is called the Rule of Eight. What that means is we're gonna be bisecting and bisecting, Cutting, cutting, cutting. Okay, so let's say I've already got this one from top to bottom. I'm gonna cut it once. And this is that middle line. And look what it lines out to hear. The crotch and wrist, which is about right, that I'm gonna cut it again right about the middle. And this is gonna be the nipple line. Gonna cut that one again. And there's our chin line. Right. Okay, so we've got the head. The nipple cut this one in half here. That's the belly button. You know what? I think I went a little bit low on that nipple, but that's not so bad. I think we'll be OK with that. And then on the bottom half the body from the crotch down to the ankle, If I was to cut it in half, we've got the knee. Right. Okay. Now you gonna say Ed, that's not eight. You're right. I could cut here, and I could cut here. These two cuts don't really measure a lot, though, so we don't have to worry about those. But you're right. Let's keep him in there just just to follow my rule of eight. Okay. So what this basically says is, um that this way, we're cutting this character or this skeleton is gonna be eight. Heads high. Kim, we've got, uh, 123456788 And I know this one. Okay, this is bugging me. Now. I'm gonna come back in, redo this one because I think I could have plotted that one a little bit better in the middle. Right? Much better. OK, so now we've got a heads high. Okay, so now what do we do? How do we measure things in right what I usually do for the head? You know, you can just draw an oval for now, Um, we'll get into head details in another lesson and stuff. Right? But this oval, that'll work. Right? Um, down below the head. Right about 1/3. The way to 1/2 the way is where we're gonna have the clavicle line. Okay. And then from that line, I come out, maybe a boat. Let's see if it's a man. I might go one head wide on each side of the head, and that's going to come down towards the belly button line sometimes a little bit below sometimes a little bit above somewhere around there. Okay. Now what am I drawing here? This is kind of like a chevron shaped right? Like a shield or something. Right. Okay, that works. Don't. On the outside of it, I'm gonna drawn to circles here. And those would be the shoulders, you know, Obviously, the joint smaller. It inserts right there at the tip of that chevron insertion. Right. But I wanna kind of meat it out a little bit here. Now, as I come down here, I'm gonna draw a circle for the hips. For men, usually this hip circle is smaller than women, you know? So that for a man, what would I draw this piece right here? Give ah ladies example If I'm gonna be drawing the same type of character for you. So as a comparison example, we'll have some of these same lines here as a comparison example. Maybe we could have the head the same, but the shoulder might be a little narrower for a lady. Even if it's a simplified skeleton, the structure is just slightly different. Okay, So, like I was saying here for the men, we're gonna have the hip narrower than the with the scapula insurance inserts out here into the shoulder. Okay for the women. Maybe it's gonna be about the same. And actually, I like to have the hip, the circle go a little bit below that crotch line. Okay? Because it's gonna flow a little bit differently. Um, weakened raw the wrist right about this line and have the arm coming down to it. Hand down below, Like my little hands there and about halfway at that belly button line is also gonna be the elbow. So if I draw this for a lady, I'm still gonna have my wrists about this line, right? So I could bring my arms down here and then have my hands below that and the elbows about halfway. Okay, Not bad. Um, when it comes to the, uh, the leg and femur insertion here, what I like to do is imagine little antennas coming out of here that out of the, uh out of the hip area that come and rest on this crotch line, right. And then it comes down from there. Then it comes down to the knee. So if I'm drawing it here, it sometimes I draw in like a little underwear line like a little Superman underwear type of thing and I come down to that crotch line. And then here's our knee line, right. I come down to the knee, right? Does that make sense now? Depending on everybody's got a different structures. Sometimes it'll come out even further and then come down for an example. Might be a little narrower and come down is your choice for what type of character you're drawing, right? The nature of that character and skeleton. And then we could drop it down to the ankle, drop it down to the ankle. I give a little line there, and then for now, for now, we're just gonna have kind of simplified triangle feet. Keep it nice and simple. Ah, we'll get into feet in a specific unit for it because, Well, frankly, it is gonna take a lot of time. Right? Um, feeder. Tough feet in hands. Really tough. So we'll leave that for another time. This is just our simplified skeleton. Let's see, how does it work if we're looking at it on a real person? This is Serge Gnabry. He's kind of awesome. Um, 19 seventies bodybuilder and ah, great physique. This is a photo from back then and because it's a photo. There's a slight distortion because the cameras somewhere around here So it's looking at him from this viewpoint, so his legs are gonna be a little bit shorter than they should be. Okay, But basically, he's He's a pretty perfect package here, and it will help us understand our our, um simplified skeleton. Right. Okay, So here's his head. Right, weaken. Kind of just rough it in here about a head links down here is gonna be his nipple line. Okay. Or do I want to cut it? Let's cut it in half from here to the ankle. If I cut in, half would be somewhere around here, right. Then I can cut in half there, and this is a nipple light. Now his nipples are hang a little bit lower, their little extra developed right. That's okay. From here to here about halfway is his belly button line and elbow life. Right? There's a little Billy, but from this halfway down to hear if I cut it is his knees. Okay, lets see if we could rough some shape in here. Is that Chevron type? Right, Kim? Well, but through the shoulders on either side, of it will come in here and rough in the hip. Obviously, the crotch hangs a little bit below this line, right. This is the pelvis insertion here, um, from men. There's something's going on there. Uh, we'll throw in a little Superman underwear. We've got this line here, will bring it out as if we're dealing with that insertion coming down to the knee and then down to the ankle. Now, Like I said, his ankles are a little high here, and it's partly because of how the cameras viewing them. It's looking down at the ankles right now and then his feet so his legs look a little a little stumpy compared to his upper body. That's really not how he is just the camera playing tricks on us down to the wrist, down to the wrist and then hands when we try again. I hope what you're doing is you're following along with me. I hope you've got your worksheet in, pdf there, um, as you're listening to me ramble. You know, I know, I'm I'm an exciting Rambler and stuff I got, but I really hope you're kidding something more out of this than just listening to me Listening to my wonder, his voice. Right. Okay. So top to bottom. We want to cut it somewhere around here. I'm hoping. Yeah, you keep practicing this, right? Uh, that all these rule of eight patterns from top to bottom cut it in the middle. Cut this in the middle again, Cut this in the middle of again. And this is the head, right? Cut this in the middle again. That's the belly button cut this year. That's the knee. And then I guess we could cut and cut if we want, but it does nothing. We're going to come down maybe 1/3 or half way and start our are. Well, this guy's quite told. Yeah, start our chevron there. We're also going to add in the hips here. Okay? We can throw on some shoulders. We can throw in the wrists and elbows and in the hands, right. We can do our little Superman underwear thing and bring these antennas off to the side. And you know what? I shoot it all the way down. Usually, you know, you can shoot it all the way down down to the ankle. Midway is gonna be that knee And then we can draw a little simplified feet down here and that This, you know, the hanging chest, right? That is a nice simplified skeleton. Okay, so I really do hope you're practicing a lot off to the side here. Now, let's see if we could find this is a really static view looking straight on with the character and everything. Let's see if we could find it with a little bit of motion here. Here we go. We've got some guys doing some activities here. What I like to do is, you know, look at the figure and see where I can find some landmarks. Okay, Well, obviously I've got the head here, right after what I do for the head is I usually draw a circle and then rough it in. But I'll explain that in a different lesson. Like I said, um, then what I do also is find the flow of the character. It's kind of flowing this way, right? This guy's flowing this way from here. I know that his chevron goes something like this. If I was toe cut the crotch here, the head here about halfway is that nipple line. Right? But He's bending over a little bit. So it's gonna gonna sweep Blower. The hips are back here. Shoulders route. Here. This comes down to the elbow and up to the wrist. And this elbow makes sense because if we're kind of carry this belly button line up here in a sweeping motion, roughly lines in, even though it's coming just a little bit forward, this one that was a little bit more confusing comes back to the elbow and down to the wrist in the hand. And it also gets a little confusing when we start to plot. Things end up down here, coming all the way down here. Uh, really. What would happen is his leg would be down. His ankle would be somewhere down here down here, Right? But what's happening is, um, his legs bent, right? So that's shortens everything up. So instead, we got the little Superman underwear here. Uh, let's see. Will come out to this point, come to this point, bring it down to the knee down to this ankle, and then his foot right. This one comes forward to the knee, goes back to the ankle and then his foot. Let's see if We can try this again right next to it. Okay. Kind of sweeping like this. We're gonna go top to crotch. This is the easiest landmark that we confined on it. That isn't too bent up. We know that is Chest is about midway and his head or his nipple line is about Midway. Sorry. Uh, his head is about here. Right? So if I was toe rough this in Well, that's a horrible rough. Um, you know, it is belly button somewhere back here, right? He's leaning forward. So this Chevron becomes more of a shape, if that makes sense, right? I'm looking down at it. Okay, so it kind of comes like this and off to the side here. Got his shoulders off to the side as well. And this pelvis area here, Okay, I'm not gonna draw this arm. And we already know what it's going to sweep up from here. This arm, his hand is going behind his back, comes back to the elbow, comes into the wrist, right. Okay. Yeah, that's center line. Um, let's see. We're gonna do the little alien antenna thing. This one's gonna come to the knee back to the ankle. out to the foot. Uh, like I said, we were plotting it somewhere about here, but because it's bent, it's gonna come here so we can come up to the knee or down to any however you want, and then have the foot. Here we go. Nice simplified skeleton in motion, right? Let's see if we could find it on this fine fellow. It's bending, right? So if it's bending, might be just a tad harder to plot out. But we know that he would be the middle somewhere around there. Uh, he would be his head. Here would be the bellybutton. Here's the head. Here's the belly button, right? We can kind of plotted out roughly that it's going to still follow this this cut rule, cutting it into fours for the upper body. Okay, so we've got his head plot that in very roughly, got the Chevron that is just below the neck or below the chin. Give him a little bit of neck and it comes out this way and he's leaning forward a little bit, so it's just a little bit there. And if we look, the actual center line kind of comes like this, a little bit right? Here's the hip. That hip is back a little bit and a center line on the hip is movement more straight on to us. We'll put the little underwear thing in, right. Actually, it's his crotch is kind of more here. Coming to this point, this is going to come forward to this knee, back to the ankle and then out to the foot. This one's gonna come down to the knee, down to the ankle and then this foot. Okay, let's come off to the side here and see if we can do it on this guy off to the side. No. Oh, we gotta add in his shoulders. Plot in the hands and see if we can connect him down to the elbow, over to the hand, down to the elbow, over to the hand. Now let's see if we could do it off to the side. Here. It's gotten a little bit more of a bend here. Maybe I don't know which. Where do we want to start first, Um, plus in the the Chevron right, and we know that it's contouring a little bit out this way. A little bit more plot in the head. We know he's looking kind of this way, right? Plot in the shoulders. We could put his hands out here holding onto the bowl. This one's gonna come down to this elbow, Gonna come here back to this elbow and over right. We can put in the hip. We know it's more straight onto us, right? The underwear lines, the little antennas, and down to this foot that's firmly placed about halfway is gonna be that knee. Um, about the same length down to this knee, back again for this ankle. And this foot nice and easy. Actually, this is probably leaning more forward. Cool. Okay, so now we're getting used to finding this simplified skeleton, even in reference photos. Right? That we could see it in motion in these athletes, huh? But what about when it gets a little bit more bendy? Can we still find it? Like I said, I like Teoh kind of search for the spinal column, right. It would probably started the base of the skull here, come around and come out to their Kim. So this is our our line of from crotch to tip of the head. OK, so normally we'd say, Well, here's the crotch. Here's a tip of that. And then we start dividing in halves. Right. But this has got such a bend to it, especially from here to here that it's really hard to do that. We so. But let's see if we could try toe cut it this somewhere. No, I would even say maybe this and this would be the cuts. Right? Um, that semi gives equal spacing along this. This backbone came. Um, Now we're gonna look at the torso. Here is the Chevron. But if you look, that contour line is actually in the front there. The hips air here, and we can't see that front contour line that we normally do. But we can see the back one because it's a but we get to see the but okay, and we know that it comes out to the insertions for the legs out on here. The shoulders this one's hidden. But we're gonna draw through the shoulder, comes out to the wrist, and then the hand about halfway is the elbow. This one comes out to the wrist and then the hand and we know about halfway Is the elbow right? I guess we could draw her face in. Good enough. Okay, um, what about for the legs? Let's go down just a little bit. Um, she's got great proportional legs here. Right? About halfway is the knee, and then the foot looks actually longer because she's on her tip toes for him. Foot is here. Ankles. Here about halfway would be the knee. So it comes out like that. So you two year, uh, now, what do you think? Can we recreate this? This is gonna be pretty funky, right? Basically, from here down is legit. That's the leg, right? We know that. That's, um, that's leading into the pelvis and stuff, right? And we know that this foot is up here. That was easy. That's the easy part. One straight ones. A little bit bend. Not too bad to deal with. This other part, though, is gonna be tough going from the backbone up toe where the neck is and then up into the head. Right. So we complied in the head. We can plot in the collarbone and the chevron with the big contour in the front. And we complied in the two shoulders. When? Here. When? Here. Um this hand would be Why don't we put it somewhere back here? So it's not on this character. Put it back like that. And that's the elbow. And this hand. When we put it a little bit higher, put it back here. And the elbows there. Actually, that wasn't that hard, right? And we know that the but Contour is easier to see from the back room. Yeah, she looks legit. Okay, what about this gentleman? Ah, he's got a lot of muscle on him. Can't wait to study the muscles later. But for now, we're sticking with a simplified skeleton trying to find it. What do you think? Let's go with this backbone first. And we know here's the upper body. The lower body is all bent up, so it's gonna be hard to identify, but this upper body is pretty easy. About halfway through will be the nipple line. Halfway through will be that belly button line halfway through. That one will be the headline, right, The chin and all that. We know that Ah, a little bit down from here is where the collarbone starts from the chin. But we also know he's leaning forward here, right So our Chevron is gonna become, ah, three dimensional shape and stuff. Just this. All right, It becomes we get to see a bit of a cone like thing because we're looking at it from the top. Okay, this comes down to around the belly button or just below. This is the hips. The hips are probably set back just a little bit. He's leaning forward. Actually, that's a good lean he's got going on here, so it's narrowing even more. His shoulders are out here. I guess I could rough in his his head here because this is leaning so far back. I would actually say the hip line is back here and it's gonna come out to here for the the leg placement. It's gonna come off here to this leg. Come here to this leg and down. You know, this ankle is not too bad, this legs only slightly bent. But this one's really bent down to this ankle and foot room and then the foot down here because if you look at the length of this arm, this arm should not be as long as almost his leg or anything like that, right? It should be quite a bit shorter. Halfway is the elbow in the hand. Here's the hand halfway down to the hand. So what do you think? Can you recreate this? What I'm gonna do is I'm gonna kind of just plot it out for you. Just roughly. Here's the bill. You know, here's the actual peck line the head, the belly button, and then just roughly add this in. So when you're following along with me here, um, there's two sheets to the pdf, right? You could either be sketching along and tracing over my sketches already there or on the second sheet for each unit. It's blank. Tom's room for you to be drawing along right? You could be drawing over the reference material or sketching in the white blank spots off to the side here. Sometimes I'll leave you these little half sketched ones. Um, just so you know, you can kind of have some landmarks to start with and then see where you roll from there. Okay, so, just as a quick review, we started with the rule of eight. Um, using bisecting line, cutting vertically, a person in half, right from the ankles to the top of the head. And then from there we cut in the middle, Cut that in the middle, cut in the middle, cut in the middle, and our top torso will be cut into fours. Ah, the top of the head, the chin line basically the nipple or lower chest line the belly button line and in the crotch, matching with the wrists. The lower body. I think we really only have to cut it once to follow this rule of eight, and that's to find the knee. Okay, it's midline and that knee there. Once we did that and we practiced the rule of eight a few times, we moved down to recognizing it in motion. Sometimes it's not always easy because the bodies, you know, it bends at certain points, right? And, uh, so I want you to do this and even find references of your own or in the secondary practice sheet to try to see. Okay, where can I find all these landmarks now? You might not be able to find the landmark like a full rule of eight, but maybe you could do just the torso for Maybe it's just the lower body, right, and you start to divide it up and then see. OK, this makes sense now, like I can I can find it. All right. And we got extreme bendy. That's cool. Nothing wrong with that, right? It's good to see everything. Really? Bending up in stuff for humans are amazing. And so what I want you to do is now that you've got this cool, cool little skeleton here, you can start to use this skeleton as your mannequin. Right. This is your little possible mannequin. You can use it for almost any poses or references that you want to try to plot out. Um, you know the different proportions of what you're looking for. Okay, guys, I hope this Ah, simplified skeleton unit was helpful for you. And I hope you're still practicing. 5. The Minotaur: Hey, guys, we're back, and we've got another cool beastly creature Lee Monster Lee Legend type course for you, Um, in this unit, we're gonna tackle the minute or yeah, that sounds very cool, But what is it? Basically Ah, it's a bull's head on a dude's body, right? I say you do, because I don't think I've ever seen it on a female body. But I guess you could pull that off if you really want to, but yeah. So hopefully in this unit Ah, we're gonna focus a lot on the bull's head. You know, we're gonna, uh, look for references for it. I've found a three d reference here that, you know, you might find kind of interesting. You could freeze frame it, practice it in that kind of stuff. Right. Um you know, I I want to focus on the bull's head a little bit because it's not something that we have readily available in most households, right? Uh, it's a little rare debt toe. Have it around you. Right. Uh, the other thing is, the reason I'm not focusing on the human body as much of the bull's head is because I'm including in this course. A simplified skeleton for anatomy. Okay, uh, if you're understanding human physique, you should be able to kind of work your way through this. If you're not comfortable with human anatomy as a whole, I really suggest taking a look at my anatomy course. Um, you know, it's on the same platform You got this course on and stuff, right? So it's there, but I don't think it's necessary. What? What I really want you to do in this one is we're gonna look at the simplified skeleton for the miniter and then focus on the bull's head. Okay, so look in this course, because I've actually included Ah, bonus unit for you of the human simplified skeleton. So hopefully that helps and put you on the right track. If you want to get into more detail. Like I said, I've got another course for it. But I think the simplified skeleton is gonna do us really well for this miniter. Okay, So what do we do here while weaken? Find some landmarks, right? Here's a shoulder line. Here's the top of the headline. A little bit there and stuff, right. Ah, here's a chest, abdomen, crotch. In this case, knees and ankles. Now, this is interesting, because what I've done here is I've used a new image that's much taller, from crotch to tip of the head than it is from crotch down to he or whatever and stuff. Right? You can see this one's. 123 Let's say four heads tall. And this one's 12 2.5, maybe or something. I've done that purposely. I wanted to have a hulking physique up top and shorter legs. Later, in this unit, we're gonna talk a little bit more in depth about variations of lakes. Sometimes I've seen monitors with a bit of a human leg. Okay? And other times we've seen it with Morva hoof. All right, so let's see what we can get first, right? Let's practice our little human anatomy. Um, we've got a kind of a center line going down here. We're gonna work on that Chevron pretty wide Chevron here. We're gonna work on the hips. We're gonna work from the hips down to the knee, down to the ankle and then out into a simplified foot. Okay? The shoulder is gonna be really wide here. It's gonna come down to the elbow, come down to the wrist, and then we've got these big mitten hands and stuff. Okay? So if I wanted to repeat just this simplified skeleton, hoping you're doing it along with me, but just in case you're not Ah, well, go through it together. Here. We'll put in, you know, here's the head. Here's that chin part. Here's the crotch. Torso was gonna come most the way. It's gonna be pretty wide for the shoulders, right? We're gonna have the hips here with a little kind of Superman underwear line. Right? Okay. We're gonna come down to the knees, which are around here, Gonna come down to the ankles and then out to these relatively large feet. Uh, these arms, if you notice usually on the average human physique. If anything, this crotch will be a little bit higher or the wrist breaks at around this crutch level. That's not what's happening here. The risk is breaking quite high on it. And so that shortens up the elbow as well. So these arms are actually ah, little shorter and then enlarged hands. Right? Okay. Does that make sense? Not bad. Now let's do it on the slight turn, see if we could find it. We'll just come down the middle here, find our our Chevron roughly comes to about the belly button, but it's not firm on that. Find the underwear line down to this knee, down to the ankle. Simplified feet, Right. Big shoulder draw through this shoulder. Its hidden come down to the elbow, wrist and big, meaty hands, elbow, wrist and big, meaty hands. I'm not gonna draw it here. I want you guys to draw it on this side here. Okay? I think it's important for you to do that. Now, let's take a moment and take a look at those Bulls head already gave you the three d render a little bit. Right? But this is what I captured it from. So what I want to do with the Bulls head is two things. I'm gonna have this main part of the head and then this shoulder hump, okay? And this is gonna make sense if we do it from different angles to and then this will come into the traps. Traps are kind of coming over here now. This mean part of the head, then we're going to come forward and have the snout. Okay, let's see if we can catch this from this angle, we're gonna have this main part of the head we're gonna have, You know, this kind of snow that comes forward right? Then we're gonna have this. This larger part will back out for you so you can see him both at the same time, is larger part behind. And then we're gonna have very large traps. The trapezius that have to carry that. You wanna have traps that have to carry this massive it. If you got all this on some skinny anybody littleneck, you know, it's gonna look awkward. Looks like it's gonna snap off. Right. So, you know, you could have folds here and then the traps coming out here coming into the delts and stuff, it's gonna look quite massive and see if I start to draw this in with a bit of, ah, black line here. So we'll use this to start off with. Give him a bit of a mouth here. Good enough. Come into the head part right into the cheekbone. We could actually follow that. A lot of the circles that we've got here, Right? Um, this neck is coming below. And actually, this neck, we're gonna use this kind of Jowell hang as a bit of, ah, landmark. I wanted to start in the middle of the chest here and kind of work its way. Okay, so it's going to come up here, we're gonna have folds, and we're gonna have this part come across, come up gonna have this part. We can have thes floppy ears, right? Coming up higher. I like to have a bigger brow. You know, if I was toe put a big brow on this guy some some brow and here, right, And we're gonna have this big hump coming over top here and then however big we want the horns, you know, we can have, um, much, much larger coming in, right? Something along those lines, right? And then, of course, the eyes cool. Does that make sense? Have the nostrils here and stuff. Okay, so how would we do that over on this side using this big hump? Well, you know, we've still got I want to put that big brow in here. That that I put on the other one, right? Going to come here, have big chin like I said I wanted this this part, the chin and then that the hanging part to come in here, I want to have it so it naturally flows into the human physique. You have a look at how you're gonna attach some of these things. If you're linking up kind of animal or beast type thing it attaching it to the human, where does it make sense to link them up? And so you're gonna look a landmarks. So a center point landmark on the chest. You know, if I've got the dealt coming here, right, it's coming up, and I've got the chest. Okay, you can go with the center line on the chest, and that's where you can attach that hanging jowl thing. Right? OK, so we can have this year coming out here, right? Gonna have the I underneath here, give him a little bit of a cheekbone having it that now. How are we gonna do this part? We've got this part of the head, but then we've got this bump right? Then we've got the traps going into it, so we're gonna keep the muscular. Sure of the traps. They'll start somewhere around. That's deltoid. And then this hump will come over here. And then what did we do? We gave him much larger horns. Right, So we can come in here, looping around, Have this come in. Even though this is on the other side, it will make a lot of sense. Right? What do we think? Not bad. There we go. So if we back it away, they're now what looked like a disjointed like What's he doing here? You know, it just looks copy, paste and stuff like that now is making a hell of a lot of sense, right? You know, we've learned how to merge these two beasts together into one. And so you know what? I've got his traps up really high on this. I think I might even change this and have the traps even higher. Bringing up that high right? I think that's that'll give even more stability. Now, this thing looks like if it was to charge at us, you know he's got this trap. We could kind of think of it almost at the eye level, right? These traps air high and he's ready to bulldoze through something. And then we've got the chest here chest on this side. Right chest deltoid out here. Maybe the collarbone, the trap inserting in here. Something along these lines, right? And then you can draw the rest of the anatomy in. Not bad looking. He's looking pretty stacked, right? I like it. OK, but what do we do if we want to add that kind of hoof? Look into it, right? How are we going to do that? Well, you know, uh, in this course, I've included bonus feature about paws, claws, talons and hooves and stuff, so that will show you a little bit about it. Ah, but really, what you have to understand is the different joints, the appearance of how the leg forms a little bit different. So normally, what we have here is we've got, you know, we've got our hips right, and we've got the top upper lake coming down, um, to the knee, comes down to the ankle and then out into the foot. Right? That's how it generated looks. And it's really similar to when we're dealing with Ah, hoofed foot on Lee. There is a slight difference. So we're gonna go with the same thing. We're gonna come up here come down to the knee, come down to the ankle. But then the foot, just like ours is divided into a section. You know, here's the the hell and stuff like that, right? What? What happens here is when it comes down to the ankle, it then comes down to the hoof. Okay, so you can imagine that this part is part of how we would look at this part of the foot, right? We could think of this as a bit of an ankle or something like that, right? And then this part comes down to the hoof, which, in human terms, we can kind of think of it as the ball of the foot in the toes type of thing. See if that makes sense. Right? So if we're gonna draw the hips in here, we've got his little butt cheeks here. Um, the insertion of the hip would come down to the knee, but then when were coming down like bring it down to this Nias. Well, here when we're coming down this way, what we would do is maybe come somewhere out here. This would be where the the ankle slash hell is and stuff I get. Sometimes there's actually even a little bone spur that comes off back here, okay? And then it comes forward and comes out into the hip Europe story into the hoof, comes forward and comes out into the hoof. Okay, so you get this big quad going on or big upper thigh and all that kind of stuff, right? We got the But we've got this. And then you could think of this kind of as the calf. You know, the shin, that type of thing. You could still kind of think of these as a little bit of the same structure. But then when it comes in this lower part, think of it almost like a foot. But it gets all weird and stuff, and that's the really big difference, right? We come down here, we've got this giant hoof. Okay, see if that makes sense. Actually, that looks pretty good. That's generally how would be And then from the top here, we've got our chevron right, with a bit of the back showing, we've got these massive shoulders we put on them and stuff like that. And of course, you know, we can rough this in. We're going to rough this this part in behind. Gonna rough the muzzle in right down to the elbow, down to the wrist, down to the elbow, out to the wrist. So these traps will be quite large here, Okay? And they're gonna come up to this bump. What do you say? Do you want to draw that in just a little bit? Especially? That might help you being able to see it from behind here. See if I draw it in from behind. So these traps air big, right? They're gonna come down this center senator line here. There's a bit of a divide here. They're gonna come up. This one's gonna fold over, come in and stuff, Right? They were gonna have this big hump coming this way. Right? We can kind of follow this hump here, and, you know, it's kind of folding over here. Is the dealt coming in here? Okay, medial dealt. And here, posterior down there. And then, you know, we can add the little ear. The job will here, out to the muzzle. Down. This thing's gonna come down to the chest. Right. Okay. Um, we had a big brow on this guy in the other versions and stuff, right? Even something like that. And what was it? A bigger horn, Right? Something along these lines. Here we go. That makes a lot more sense. Right? Here's the elbow. The forums coming in here. Bracket, Alice, Bicep. Bit of the rib cage and then the belly, depending on how big we want that coming down here. Uh, do we want to give them? But sure, why not give him a little bit of but here, Right. And then this is where we're gonna switch up there. We're gonna have the knee here, Right? Kept. Then we're going to switch up. Put this big calf coming out this way. I actually think that knee needs to be bumped in. Just a It's more around that side. So you know something along those lines, right? Have the calf coming in this way and you can add texture of for depending on the characteristics of the animal. Right. Have this coming down here, out to the hoof. Maybe some text oring in the hoof, right? If you want, you can bulge it out just a little bit as it wraps around, almost like a cuticle or fingernail or something like that, right? And that looks pretty cool, right? Does that make sense? So we can do the same on this side? This other butt cheek here, Down to here. Big calf out into this kinda stem of a hell a little bit. This one's coming off in a bit of a different angle, though. We're looking at it from behind a little bit, right. There we go. Cool. Okay, so that's a way to add Ah, hooves to the minute or character. If you want it, we can see how that would be. Pretty cool looking right. Ah, little bit tougher to do from the front. But you know what? Yeah. Why don't I do that for you here? I'm gonna see if I can show you a little bit of how it looks from the front and see if that helps you. You know, sometimes it takes a little bit of practicing this this I want to say animal leg. But you know, a dog's leg. That's often how it's described. Right? So let's see if we can figure it out there. We're gonna use this as the base, but so up until this point, I'd say it's almost pretty much the same. We've got this huge quad coming in here, right? We're all good for that. But then it kind of goes back, right? Remember, it juts back instead of coming straight down. Kim. So if anything, what happens is you know this part of the upper leg is is a little bit forward, right? Comes down into the knee, but then we've got the calf. Looks like it's up higher. It's not. It's actually kind of angled a little bit different. And so it's angling down this way. Then it comes to this. The kind of yes, what we could call. What would that the ankle joint, maybe, or something like that. And then? Then it comes back forward and comes into the hoof. Okay, now you can split the hoof. If you want. You could do that type of thing. You can give it kind of a bit of a tow feature or something, depending on how you want to do it. You know, you can add hair, mango, mangy, hanging hair off of off the military's calf. You could really texture thing up. That's really you know, we don't have this animal anywhere right. So we're kind of just basing it off. Off. You know what we think are what it might have looked like or something. So I'm gonna had in some type of towel here and a bit of a belt just cause I don't really want to draw his crotch right now. Income Ah, will do the quote on this side, but then we're gonna bring it back. Instead of having it straight down like this, We're gonna bring it back down and into the hoof. So let's see if we can do that with a bit of Ah, better line here. Right. So this is still going to be the calf. This is You can imagine this as the shin the calf will come here, and then we have that little bit of a bone thing, right? Depending on how how firm or how, uh, think we want to think in this leg up. You can kind of come like this. All right, you can have that split. We could have that toe if we want. Um, we can have the bowled over top of this. We could have hanging hair, all that kind of stuff. Right? Okay, so That's the calf. That's see, We're back in a little bit. Here we go. Yeah, These were really looking like minute tours. Um, what I want to do for the rest of this, cause I've already shown you how to work on the basic frame, right? How to rough in the the traps and all that kind of stuff. I want to make sure that you're going through it and feeling confident with some extra practice here. So, you know, instead of just a couple of minutes whores, I've given you six here. I think it would be really good if now what you did. I would start to come in here raw. Felt that skeleton right? Now what? I'm gonna even erase this stuff here, just in case you even want to work on this particular sheet. Okay, there we go. Work on this skeleton here and then So you're gonna work on this guy here, right? You're gonna work on ah, the head. That extra bulge. That big hump basically right. The big traps coming in over here, Right? Okay. Gonna work on the basic flow of the skeleton, and you're gonna do the exact same thing, right? beside. I want you to draw once and then repeat it a second time off to the side here. Okay. That's really what this comes down to is a lot of practice, right? Just repeating yourself, trying to see it from different angles, all that kind of stuff. You're gonna do that with this guy here? This one's a different angle. This one's looking up a little bit, but still, how would we imagine it? We know that the traps would be here, right? This bulge would be here. We're starting to draw through. The head would probably be here. You know, obviously the muzzle and stuff like that, right? You'd start toe to draw through this stuff. You start to look at those landmarks, right? You know that even if you're gonna do the the hooved, the Hovan who've been opened leg that, you know, you would still be coming back Still be coming here. Now you can maybe do the bottom part of the hoof here. Yeah, I mean, like, if if you wanting toe to show that part right, you can do a little bit of seeing how this would work. Coming back this way. The calf up here Going back that away. That type of thing, Right? OK, so it's a little bit of a harder angle because we're looking up at it here, But I want you to challenge yourself a little bit, and then you repeat it again. Right next to here, right? The only thing that I really thought this one would be cool for is this hunched over Look. Okay, so I want to have this big bulge back here. I want to have the head here. It's coming forward on us, and I want to have the traps. The trip. Easiest here. Right? We want to make him really big. Okay, so you start to fill in the details, then we've got the delts out here. We've got the chest coming here. We know that even we're gonna keep this thing constant rate, that kind of Jowell hang or whatever, Right? So I want to see if you can do that. Roughing in some of these key points for you. You know, here would be maybe the hoof. Here's the hoof. Maybe something like that, right? You could make it is bigger. As small as you want. Depends. I like huge hands, Huge roof. So I would actually probably in large these hands and kind of hawk them out and stuff I got right, um, huge traps, huge hands, huge roofs. That would be my miniter. Yeah. So there you go. You know, make thes horns just a little bit bigger and stuff. But I think right now we're at a really good place where you've got a lot of room to practice. And I think if you keep working on this miniter, you know, sketching it out, Ah, working on the anatomy and stuff like that. Working especially focused on where it ties in between what would be the bull and what would be the human. It's gonna look pretty boss, right? You know, you can see how I finished it up. That this This looks pretty cool, right? Looks like how you would have envisioned a miniter in fantasy novels or something, right? And that's pretty much what this is supposed to be about about being ableto pull off. Ah, fantasy creature. Right? Um, you can imagine how people in the old days that's how they dreamed this up right there, like Ah, fuck it. I'm gonna put together um, big old dude. Enough. That bull's head. Right. And this is what we got, right? Okay, guys, the name of the game for this particular unit, especially because I've left you lots of extra room on the worksheets and stuff is practicing. I want you to practice that the bent up leg in came and practice the bull's head and how it would adapt and joined on to a human body. Okay, have fun with it. And, yeah, we'll catch in the next unit. 6. The Kraken: Hey, what's up, guys? Head here with another video for you. Um, listen, in this lesson, what we're gonna do is cover the cracking. I think the crack it's pretty cool. I like seeing the crack in. That's the cool thing about these mythical beast that got cool, cool names to them, right? All right. So what is the cracking? Well, you know, usually when we're starting off with some type of creature that's been in mythology for a while, you can look to some of the source material in this case, Norse legends and stuff like that. Ah, for me, usually. What I do is I hit Wikipedia. You know, that's the first step, right? Kind of see, on overall view of something, right? And then I started gathering, um, visual references. You know, uh, in this case, there is no cracking. I'm sorry to burst the bubble, at least. No one that we found, but there is a lot of artistic interpretations of it. And so I grabbed a few off the net for us here to take a look at, and I think it's a good place to start. So what, we're gonna do it just kind of look at some of the form. We can see that. Um, you know, they're They're kind of, Ah, cross between squid and an octopus. Right? And so we can kind of play with a little bit with the Octopus. Usually you have this kind of head formation here and then, ah, this cone type cylinder going behind. Okay. And this one's kind of got it same thing, and then the cone goes behind. It's a little bit more rigid. Right on. This guy's a better drawn drawing here. Ah, the reason I'd rough in this head is because then you can get kind of an eye line going on it, right. You can get a center line in an island, and you can start to turn that that center line and I line, you know, if you want to and have the cone going off in different directions or something like that, right? You know, it could start toe, see if it can bend just a little bit. You know, I wouldn't do it too much, though. Okay? In this case, the head is, you know, more of ah, almost armored form, right? It seems to be cone shaped and then the part behind it is massive. So they they went off with more of a worm type of feeling to this, Almost like a Loach or something from, um I'm not the biggest fan of this, you know, You've got the tentacles coming out of the mouth, and I think that's kind of cool. I think that's a cool approach, but I kind of like this traditional one, right? So why don't we start with that? We'll go with the head just a little bit here, and we'll do it from the side here. Okay, We'll have Thea the main body behind, and then what we're going to do is, you know, choose kind of Ah, ring around here where the tentacles start to come out. How many we want. Let's go with six for now. OK, we can go eight if we want. Uh, six is easy. You know what? I think we got room for eight. So we've got eight now. How do we want to design this? Right? We've already got the form from the side here. Let's save. The eyes are right here. Right. And this is the center line going down here. This is where we start to make creative decisions. Right? Are we going to have it Amore armored form? Are we going to have it softer, like an octopus and stuff ID like Teoh Get a little funky with it and do some a combination of it. I was thinking of, like, kind of this kind of beak with with kind of a ridge ing form and then, Ah, Ridge, that kind of comes up the top here and it comes back down this way. So it kind of splits and then comes this way and comes in. OK, let's see if we can do that. And you know what? You can do yours however you want. That's the thing about this creature is that you know, it's it really Well, we don't have one, so you can't say that's wrong. You know, it's not necessarily wrong. Um, I like how they did. The eyes is kind of like just a slit, you know, I like those slits. They look kind of cool. Um, and then coming up from below this this part here, we're gonna have these tentacles, and I want you to make them long enough that you can play with them came that you can do something interesting. Turn them around, twist them a little bit. Okay. We'll practice. Ah, how the tentacles can move in, turn a little bit later. But right now, this works out pretty well. Um, keep going with these tentacles here. Good stuff. One more twist. He on that one year ago. Okay? No. Anything else that we want to add? Anything that we really enjoy on this Just for the form, Not for the details. Um, you know what? Looking at these other references, I've kind of like, you know, maybe some some ridge is going down the side, some more kind of armored feeling to it and stuff, right? And then it can come to come over the eyes or something. So this is our form. We've got this big two behind and the head up front with tentacles. Right now. Let's say we want to turn it just a little bit. How we're going to do that. It's gonna come towards us a little bit with the big two behind, right, we can draw through a little bit here, and so our center line could be here, and then we can bring that beak down the big down here, right? We can draw on the eyes and then we can draw this part here. Now, remember, I wanted it to ridge a little bit or something, right, and kept. And then So now we can add some of the details that are coming off of it and, of course, roughing in the tentacles. Cool. And if it's coming straight at us, you know, we can have the head, you know, the main part of the head with the the eyes and stuff. And we can just have the body kind of coming behind. The head's gonna be maybe a little bit larger than we've had it before. Compared to the body, right things, the ridges start to fade off a little bit. Maybe a bit of that armor. And then anything that's closer, obviously is getting a lot bigger came. Maybe these even come super close to us or something, right? There we go and we can decide. So what we're doing here is we're playing with the form and we're tryingto moving in different directions, right? We're saying, what does this look like from the, you know, from the side. Streetside profile here is the street side profile home. What does it look like from 1/4 view? 3/4 view, You know, straight on all this kind of stuff. You want to play with this a little bit? Ah, the other thing that's really important in my mind is using some type of size reference, You know, something that you can kind of gauge, You know how. How big is this thing? Right. So let's say we draw a boat. Let's make it kind of one of those those ones with the three mass, and then it's got this, you know, the old pirate ship type type thing. Right? Okay, So you wanna have some tape of of size reference that people could judge it against, you know, because right now these these guys were just looking like, uh, I don't know nothing right there. Just looking like something you'd buy at the grocery store for a little squid dinner or something like that. I like squid dinner. Um, so you know, they're not It's not that intimidating. Right? So we can have, you know, um, this ship And then how do we now make this impressive right? Now, this is about the size of a ship. That's cool. I think it's not bad, but, you know, we could have it even bigger. So we have the head here, and then the back of the head comes back here. You know, the main part of the body, right? The tentacles are going to start spawning off of this part rate. So we'll have something along these lines. Right here will be the eyes, The ridge. We said there's a couple of ridges along here. Here we go. Okay. A little bit of a armor to it. And then now these tentacles are going to start rapping around it. All right, We can start. So now that we see can see how big this is compared to, you know, something that we have. Ah, better reference in our minds, right? We don't know how big a sea creature is, right, but weaken. See that? Oh, well, this thing is quite massive, because I know the ship is a decent size, right? There's got to be, you know, little people on here or whatever and stuff I got, right. Little dudes running for their lives from the cracking and whatever So you know, like, if the ships this big now we know. Okay, this cracking is monstrous, right? And so whenever you're drawing some type of monstrous monster tried to as much as possible ground its size in comparison to something that people could relate to and compare to. Okay, If you've just got your monster floating on a white background stuff, people will admire the design people will think. Wow, that you know, you colored a great or great rendering, whatever it is. But if you condone, uh, well, if you can draw it in a whole scene, it's awesome. But even if you could just play something next to it, uh, that can people can uses that reference point, right? It's so much better. It'll give such a bigger impact to your drawing. Okay, This is something else I wanted to talk about was some of the details, right. So we've got a tentacle that's coming in and kind of moving around here, right? And we're gonna add some some meat to it, some size to a tramp. We're gonna bring it around something around this way, some thickness to it. Okay, Now, what we can do is to start adding in maybe rows of of thes suction cups. Right. These are kind of awesome. See how they we want to have a little bit of order. So I'm kind of roughing and where I would put those rose from So, Aiken, you know, if I could kind of put it in here, running it along I'm sorry running it along this line. Cool. And then you actually should have continued on just roughing where I would have these things. That's not exactly where I'm going to draw them in, but, uh, there we go. Okay, So now, but say, I want to add more details here. What I can start to do is come in. And of course, this is what you would be doing on your cracking right, and you start to decide. OK, where's the top of this tentacle? Right here is the main ridge. I kind of think of them like snakes. Whenever I'm kind of drawing a snake, there's this top section of the snake, right, And it can have certain patterns or whatever, you know, like depending on the texture that I want to. I want it Armor plated mawr do it do. I want a tougher skin. Right? Do. I wanted this kind of crisscross of almost like while what we've got here, right? This you could think of it almost like waves of texture going over a time. And then we can start to add on down at the bottom. Here, these ah, suction cups. Right? And I'm kind of using the spacing as a bit of Ah, a guide for me here. Right? So bring this up and over and it's up to you. What kind of texture in you want? You can even change it. You know what I've seen done before? And let's ah, maybe you raise this a little bit. Here is you can start to vary it. You know, let's say near the, um near the main chunk of the body, it comes out and it's kind of like in this armored form, right? It's coming out like this, and it's quite brick looking right. Okay, so it's it's Brickey and stuff, right? And then as it starts to come out and it wants to become more flexible as it goes down, it starts to lose itself a little bit. And you can start to do this type of thing, right? And then eventually, you can bring it all into something like that. So it's it's really up to you how you want to do it. It is your, uh, creature. Like I said, um, just realize that Ah, you want to stay kind of consistent with it, right? That, um here we go. OK, so we're starting to come around a little bit, and I'm just gonna Ruffin how these would go. There we go. Yet you want to stay consistent with your own design, right? You know, if you start getting a little too wonky, um, people, the viewer will get really confused by it. Right? So I'm gonna keep this so long. Here, bring these suction cups all along here. Maybe that's a little bit of depth to them here, You know, they're coming from somewhere, right? Here we go. You can see how I This could easily be done on your cracking right now. When I say easily, I don't mean as in like, quickly. There's a difference between quick and easy. Right? Um, that I think this would take a certain amount of time, and that's okay. You know, it would. It's worth doing right. I just realized that, um, what you want to do is kind of roughed out correctly to begin with, and then you'll see. Okay, Well, once I've got this roughed out now it's 10 times easier for me. Toe. Kind of Just go with the flow on it, right. There we go. And now I'm just kind of gonna add the bumps. Right? And now that I'm back on the underside, you know, I can start toe. And this is a good way to show. Form is, you know, use these circumference lines. Have them kind of going back and forth to give texture here and stuff. Right? Cool. You can crisscross a little bit, give a little bit more umph to it Home. Here we go. So what you want to do is take all of this detail ing and add it to the cracking right. Add the armor plating, add all the cool tentacles to it, give the details of them moving around and stuff I get like, as if they're grabbing onto something or reaching out. Um, add the tech Hering in, and then Well, look what we've got. We've got ourselves a cracking right. How awesome is that? We just created this mythical beast trim, and it really wasn't that hard. Are forms air simple? Just a little bit of the head, plus the basic large body slash head coming out of it and working those tentacles. Right? So once you've got that and then you add something for, uh, size of, like a reference point, then you've got your cracking. I hope this Ah, video hoped, you guys, and I hope to see some of your crack ins. Now get cracking. 7. The Griffin: Hey, what's up, guys? It said here and I've got another unit for you. This time We're going to cover the griffin. Um, you know, it's kind of cool, but the griffin, because we've seen it depicted in many different types of art, form and stuff. I can't say I've ever seen one in real life, but I'm pretty sure I've seen them in movies and stuff, right. And so what is a griffin? Well, it's kind of 3/4 lion and 1/4 eagle, right? Basically the mid toe hind quarters of the lion and the wings and the head. And a little bit of the front talons are gonna be an eagle or eagle, like right. So, boy, what does that mean? Well, that means we're gonna have to study lions and eagles, right? To try to understand some of the construction behind this. Right. So, um, let's get into it and see how this rules in front of me here. I've got a little lineup of lions, right? And what I'm gonna do here is just look at some some of the structures, especially focusing on their hind quarters. Okay. But also, I want to look at the bulk of their main rib cage here. So we've got the rib cage here. This is gonna be important, cause we're going to use this as part of the structure. And we've got what's called the scapula. It's it's It's basically the shoulder blades is how you can think of them. Right. Then we've got the hit back here. We've got this backbone going over top, right? Okay. Leading down out to a tail, then we've got these legs. Now, when we're talking about cats, legs, dog's legs, a lot of these things will have this specific joint to them. OK, so we'll come from the hip base, right? The hip on this side comes out to here. Here's the first joint you could think of it like a knee second joint. This is where it's gonna get strange. You could think of it like ah, hell, down to the bottom joint where leads out to the pause. Now I'm hoping that you've taken the time to look at Ah, the bonus unit that I've included. Ah, that talks about claws, paws and talents that kind of stuff, right, because that will go a lot more in depth. So for right now, we're just gonna look at this basic structure. Here's the hip joint. Comes down to what we could call the knee, comes down to what we could call a hell, but really isn't into the base of what humans would think of as a foot and then the actual foot that lands. Okay, so we've got this for the line, right? This main structure here, which would basically be the ribs with the scapula on the back here. The shoulder blades. Right. The backbone that leads off into the tail. Okay, If we want to off of this scapula, we could have it come down into the the front lakes. Right. So it'll come down, down, down and into the front legs. This one will be down down into the front paws. Right. Okay. So we can practice this from a few different angles just to make sure we have kind of got it. We can see how it's here, and then the hip is behind. So why don't we draw the rib cage front and center type of thing, right? And then the hip behind, right? And then we're going to see how this lake comes. down, It goes back. Imagine that it's coming forward than going back. Right? Okay, so it comes forward goes back and then comes down into the paw. We could do it on the same one here. Forward, slightly back and then down into the Paul. Okay, We've got our shoulder blades. Are scapular here? Comes down, down and into the paw. Right. We want to do that's here again. I'm hoping that you're following along with me here. Right. Uh, there's gonna be different kind of versions of this works worksheet where you can draw on it without my scribbles or anything like that, right? And so that should help you a lot. Okay. And then, you know, this next one is moving behind here. Something like that. Okay, so right now it's looking kind of funny. We've got this. Here's the center line for for this guy here. And the tail is gonna come down off the center line and come down this way. Right? But you can see the bulk. You know, this one's gonna be up front for us, right? This is gonna be this leg. This Hopefully that's the hind leg there. This is gonna be the front section here, Right with this shoulder and then the head wherever it's gonna be, whatever head is gonna be somewhere front here, we can look at it here, too. We've got here. Let's see if we can spot it here. Right. This leg is eventually going to come down to hear this leg is eventually going to come down here. But we can kind of look at how these these joints play into it. This comes back and then comes down in camp. This one comes down this way, comes back and then comes down and plants. Like I said in that unit, that special bonus unit. It will help you a lot for getting those paws and claws down and stuff. Right? Okay, So here's the center line of this one. This one's kind of coming along this way and then coming around behind and coming back, right? But the center, it starts to turn towards us. Imagine a ball and starting toe, you know, turn its center line towards us. So these front legs, we're gonna be coming back like front forward and then backing down, Right? Okay. Obviously, I'm not putting in the head and right now, I'm trying to teach you guys how to work this body for the lion. Right. So I hope you can trace over it a few times. You know, use this ah, reference guide and stuff like that, and then get used to drawing these basic shapes these basic ovals and everything to try toe , get the center lines and the basic thickness to it. Right? Because what you want to do when you're using these shapes is be ableto have some substance to your form, right? So that they're not reading, like, just flat two dimensional objects, but that they have some form to them. Okay, we're going on to the eagle. Um, two things, maybe three things. I want to talk about The eagle. Uh, 1st 1 will look at just a little bit here on this guy is the talents. Okay, So usually, you know, you've got this big, meaty part of the leg here, which is basically just a bone underneath the right. It's gonna come to this point toe what we could call as a risk type of thing, and then it's gonna splay out. In this case, it's got three in the front and one in the back, Three in the front and one in the back on Kim. And whenever If you again referring back to that talent unit, it will help you to place the knuckles. Okay, So, really, before you get to foreign talons into this, you get make sure you take a look at that talents. Okay? Next thing I want to take a look at and talk about here, though, is really the wings. Okay, so you can see here is basically the scapula. Okay. It's gonna come down here off the scapula, the humorous come up through here. It's the Radius. And then kind of expand out into what could be thought of as a hand A little bit, but really displays out into feathers and stuff, right? So let's see if we could find that we know that the scapula is gonna be somewhere along this part of it right on either side. So again, think of shoulder blades. Think of it's it's on the back of this off this form of this bird. Right. Okay, so it's got this part. It comes out to this first section. Okay, Comes out to the next section and then comes out here again. And so this part here is this part here the Meta Karpis, right? And then it'll fan out to whatever feathers air coming from there. So this point is a point of fanning, and then it kind of comes more straight off of here and stuff, and then you'll find a smaller network of feathers coming down there. So basically what I want you to do is think of from this shoulder boy Blade point one to fan out, one to fan out, and then it'll it'll fan this way and stuff, okay? And come on back. Is that cool? So let's go. Go back here and see if we could catch that. We know that there's a blade here and gonna be a blade here. 12 and then fan out. Okay, this one's going to be tougher. 12 and then it's plays out this way. Does that make sense so you can practice that? You know, uh, set up a pair of shoulder blades and think of one to splay out one to splay out. Right. And you could do it in a lot of different formations, obviously, you know, have if you want to put an end point to it or something like that and say, OK, well, I wanna want to get from a to be How am I going to do that? I can come up and say one to splay out and what we put be over here in a right. So I want to go, um 12 and splay out. Right? And that's how I can. You know, you can kind of plot which way your wings air going or stuff. Really? What you want to keep doing is is studying birds to see you know how their wings move in in a certain pattern when they're moving in in certain directions, right? Like if if they're, if they're flying up, if they're powering through, move. If they're diving down and stuff like that, you want to practice a lot of birds and stuff, Okay, so the wings is the main thing. I want you looking at here. Next thing is the head, because when we're drawing a griffin, we're gonna use a fundamental bird's head. Now it's a little bit of an egg shaped, a little bit of eagle shape here and stuff. I get not perfectly. You don't have to draw out Ah, beautiful egg shape or anything like that, but realize that Yeah, it's in this kind of basic oval form. Okay. And you can see, actually, this one probably goes along here Mawr, and we've got a little bit of a center line with birds. They've got their their eyes on the side of their head more. Okay. So even though I've got a center line here, even though I might see a bit of the center of this beak or something, like, for example, I'm not going to see the other I on the other side here. Anything. Right? Um, so with with a human, you know, even if I'm on the center here, you know, I might be able to see one I hear and one eye off this side here or something, right? Depending on the the design, I'm going for whatever right with the eagles, because in birds generally and fish, right, these these eyes that are on the side really don't allow for that. They're so far back and stuff that unless they're looking kind of straight at you, you you won't usually see like look at this guy. He's turning a little bit. His center lines a little bit off. We're not seeing both eyes. Let's see if this other eagle shows it at all. Yeah, a little bit off center. Like I said, when you when the Eagles looking directly at you were a bird or whatever, then you see both eyes. But if it's just a little bit off of that center, you know, if it's if it's angle just a little bit, those eyes disappear really quick and stuff. Okay, so we've got an eye line that's pretty high up. Right? So Weaken, do this down here. We can put this oval and right. We can put this I line. That's pretty high up. I can have my center line here if I want. Right, Um, the in this case, the eagle's eyes very round when it comes to a griffin, though well, will often do is is put a big a bigger brow over it, or something like that, and kind of it condenses the eye and a little bit right from about this I line, though, comes the beak and the beak. Depending on how you want to draw it, you know it can be larger rounder. Mawr hooked, more dangerous looking whatever, but realize that the beak will actually come back. Right? And it's almost, you know, the mouth opens up just underneath the eye and stuff, right? And then you want to give a little bit of ah nostril here for breathing and then, you know, feather plumage, all that kind of stuff on this side, right? The underside of the beak again, depending on how you want to draw, it will come in and more feathers underneath. Now, this looking really ugly. But let's see if we can make it into something. Okay, so I'm gonna kind of sketch this out and see, You know what a rough Griffin might be. I'm gonna have the main torso, right? I'm gonna have the hip. I'm gonna have I want to have one scapula here, You know, let's say the main tour. So that is somewhere around here. So that the other scapula might be on the other side here or something like that. Um, what I want, I want maybe the backbone coming up this this other side a little bit, right? Kind of drawing through it a little bit. And then the head will come and be somewhere in this area. Cool. So, the wings, what am I gonna do? Comes out to and then down. Yet? What do we do that out, too, And then folded down, Right? Something along these lines. So we'll have this big splay of feathers here or something. Right? The's legs. What I like to do sometimes is plot in the feet. You see me do that up top there a little bit, right? So why don't I zoom in here just a little bit more? So you know, I couldn't plot in the feet a little bit, okay? And maybe another foot over here. I don't know. I haven't quite thought this through. I'm kind of just sticking things where I want to stick him right now. If this is a scapula, you know, then maybe I'll have one arm coming straight down and have one claw there. One talent. Whatever. Right? And then maybe one talent here. Right? Okay. So what do I do? Um, here is one side of the hip. Here's the other side of the hip, right. Maybe I might angle this just a little bit. So Bring this down. Bring this up. This one can come forward. This is the main thigh. It could come back and then it can come back down. This one can come forward underneath. This could be the main thing. I hear it can come back and can come down. Okay, so now let's see. Where do I want to start? I'm going to start roughing some things in. I don't know if I'll go through this whole drawing with you, but, you know, I think going over the key points might be interesting for you Here. Is that I line right? And so what did I say? Uh, actually, you know what? I think I want to change this and have it going going down a little bit. Right? So all have that beak point coming off of here. Coming underneath, right? Gonna have this big brow. Remember? I talked about with Griffin, I might put you know. So here's the the I somewhere in here or something like that, Right? But I want this bigger brow to be a part of this character. And you know, you can even I've seen him. They kind of have, like, this feathering going off of them and stuff, right? So you can have this kind of feathering going off the top, right? Of course. Then I would come in and erase this up or something like that. Okay, so I've got what I've got. Oh, yeah, Bottom of the beak here. And of course, this kind of comes up into it. This is the mouth comes into the feathers. And you know what? I'm because I've got the chest here. I wanna have this come down on either side, but this plumage is gonna go down the center line up, so the centerline would have followed it up, right? So it's gonna come here and here, and then there's gonna be the shoulder here, so maybe it'll come in and wrap around the shoulder kind of thing. And there we go. OK, so there's there's the front line off the griffin and that head a little bit. Right. And don't forget to put in the nostrils. Income. So what's next? Um, let's see. Maybe I'll back this out just a little bit. I think what I want to do here is put the the shoulder gonna have this shoulder here, kind of drawn a little bit of a human type of look. Right now for a second year, it's gonna be feathery. Actually, it's gonna come down to this elbow, right? So I'm gonna have it feathery, furry as it comes down to their because it's ah, it's part bird, part lion or whatever. And then from behind this, I'm gonna have this swoop up and I wanna have this part Has big feathers coming in, right? Of course. This is just rough right now, but you can kind of get the drift of where I'm roughing things in, right? Do you come? And then underneath the maybe a smaller role where something as it as it works its way out , right? All work in those details in the later lines. So on this backside. Now, Aiken rough in this neck a little bit Come out here. I've got the same thing, and it's coming back room, and then maybe I can have. I'll wait because I want to put this wing back in behind, right. Okay. So looking Not too bad. Oh, hey, I wanted to put if if this is gonna be the front the crotch kind of area that I should put the tail and the tail can be something like this or something, right? Sometimes I forget that you know the tail on these guys. Right? Okay. I'm gonna zoom in just a little bit and maybe draw in this foot. It's got a cat's foot, so there's gonna be four to it, right? And it's gonna have thes return retractable claws to it. Okay, this knee is going to be outfront. His knee is gonna be out front, and it's gonna lead back into this part of the leg. And then I can kind of imagine that this part is gonna come down into something like that, right? This is where the crotch is gonna go. Depends on on a lot of animals. They have a sheath. You know, uh, Penis sheath, I guess, is the way to look at it. Right. Um, and then on this side, I'm gonna bring this up and come underneath for for this part of the leg, and it's gonna come back, come down and come this way. There we go. And this one's gonna come comes out this way, but was kind of being blocked by the chest here. If that makes sense. Okay, so getting the sheath is here. Maybe I'll throw in some ribs here for a marker for the details later. Okay? Not that bad. So far, right? I think we're doing okay while I'm back here warm on his rear end. That might as well do a bit of the tail. Just a flesh out. You know how it might want it more. You might come around and then I've seen them. They kind of splay out. Um, I could even put little barbs on the end or something like that. Right? Some type of design or something. Right. Okay, so I'm working my way forward. I've got these claws put in, right. Little, uh, retractable nails. I could have them out if I want him gripping onto something on the surface here. But right now, I'm just kind of, you know, plotting out the basics, right? Ah, for this hand. What I'm gonna do is I'm gonna do this bird's talent, right? But I'm gonna I want it kind of like, somewhat of of ah, opposable thumb slash hand type of thing. Right. So what I'm gonna do is I'm gonna go 123 off of this side and then four off the back end here. Okay, so all run my knuckles this way on, uh, run it kind of this way, right? And then have the the claws coming in. Like I said, I go over this all in, the in the talons, um, you know, putting designs in here and stuff I get in the talent section and stuff, right? Where to put all these knuckles and everything and stuff. And this one back here. Well, if I can't hear to hear about halfway is gonna be the elbow, so it'll be kind of furry, you know? Here's the body part, right. But here's that part. And then from here down is going to be down going into again the the other talent there. So I'm gonna do the same thing here. I'm gonna maybe split 123 and then one off the back. Right? So I'll put that knuckle off the back, give them something here, and then have it so that the talent clause or biting in REIT And of course, this is that pattern of the of the, um sorry. The birds kind of nasty lakes. I always hate those bird legs. Okay, so you can see how that there's this rough version off Griffin right now. I think he's looking pretty, boss. He's got all the basic shapes that we've talked about and stuff like that, and I really hope you followed along with it, right? So now what will get into next is I'll do some of the finer lines and get into maybe even throwing some colors on it and stuff like that. And so you can see how it works out to be the finished version. Now, um, you know how you want to finish it, Whether you're drawing it in, like pencil crayons or markers or whatever it is you're doing, that's cool. I kind of leave that up to you for the rendering and everything. This one, I wanted to focus on more of the how we combine two really different animals and make them into a believable structure. Right? Ah, functional structure. Something that we could see this this creature moving on and you know whether it's taking flight, whether it's perched on a rock or anything like that. Okay, so I hope the Griffin was interesting for you. I hope you had fun. And I hope you learned something about creature anatomy. Even though they're not riel. Keep practicing, guys. 8. Gogmagog Ogre: What's up, guys? Ed here. And I've got another creatures unit for you. I've never unsure what? The coldest legends, Monsters Creatures unit for you. This time we're going with Gog Magog. Yeah, I'm guessing a lot who have never heard that name before. It's an old legend about basically a troll or ogre. Right? So that's what we're gonna work on. We're gonna work on kind of trolls and the ogres here. Okay? So once again, we're going to start off with our classic eight heads. High muscular type dude physique. Right? And listen, I hope by now you're really comfortable withdrawing an average, you know, bisecting it and stuff. I get cutting in half. Here's ahead. Here's the nipple line. Here is the naval line down here to the knee. You know, that kind of thing, right? So when we start to get into drawing the the ogre here, right, it's gonna were gonna vary it a lot. All right, so let's see, we've got this average physique here. How are we gonna do this? Let's make it the same height because, you know, the the height, scales and stuff I got. So I'm really not worried about that I'm worried about just the proportions within this. Um, what I like to do is drop the halfway mark. I like to have these guys with generally shorter legs and a large, hulking torso came. Um, the other thing I'm gonna do is maybe keep the head around somewhere on the same, I might get a little bit smaller. Um, the hips will be similar, but I want to take out the neck, you know? So here's one of the changes. I want to kind of remove the neck and have the chevron much larger, and we'll put the shoulders on the on the end here, Um, you know, part of removing the neck. Of course, he's got a little bit of a neck, but I really wanted kind of pulled into, um, this type hawking look of a body. Um, we can put simplified feet down here for now, coming off off this part of the hip and then a knee about midway. Another key change that I want is the hands. Now, these hands would line up somewhere like this, but I really want the hands to be maybe somewhere around the knee length, okay? And we can have Instead of going in the middle of the arm, we can have the elbow break a little bit high. Right? Okay, So we've got what looks to be some type of ogre, right? You know, this thing is kind of hulking looking, right? Let's see if we could turn it around with some of those same dimensions and stuff. We're gonna pull this across, pull this across and do this character turning. Remember we said, big head, we said the torso will come down. So we'll have something like this. Um, the whole king. This is a 3/4 turn. Right? So we've kind of got it this way. The shoulders will come through a little bit. Um, maybe I'll make the hip a little bit bigger. It doesn't have to be so narrow out into the feet down into here and kept there we go, and we've got what could be the head up here. Okay. And where did I say the hands go to? The hands came down to almost about the need level. Right. So here would be one hand. He would be the other one coming through. And I said the elbows are gonna be kind of high up. Okay, so there is our quarter turn guy, right? And fully from the side, you could see how these proportions really changed the look of this character. We said a little bit of a small head, but the massive torso All right, we'll use that kind of chevron from the side. Here's a big old shoulder. This will come down and to what could be a very large foot. The knee. This arm will come down into a very big hand, something like this. And there we go. Now we've turned it around. Okay, so we want to be clear on this. The main thing is getting rid of the neck, expanding the torso, shortening the legs and lengthening the arms while keeping the maybe the upper arm a little short. This will give that riel hulking type of look. Right. Okay. So let's see. We're gonna draw this off to the side. Now let's give a little bit of sweep to it here and down to here now, usually went halfway, but instead the crotch would be about here. The head would be up here, will have this part here, roughing in the shoulders I wanna have a big ramp. I'm kind of thrusting his hips here and because I'm gonna have this leg come out this way and this leg come out this way. Um, this one can go here and down. Maybe this one could come over. And now, holding some type of club or something like that, this will come forward, and then the head can maybe becoming forward here. Okay, Maybe I want this down more. So, like this room Now, we've got to come in and start adding in some details. What are the details of this over gonna be? Well, anatomy wise. Still some similar things, right? You know, I'm gonna come in here and draw collarbone, and I'm just sketching this out right now, but I'm gonna come in and draw the chest something like this. Right, Um, up into the shoulder, here and come So you can see, like, the nipple would be off the side here or whatever. Uh, I want to put a bit of a belly on him, so I'm gonna throw some weight in here and stuff the obliques here gonna hang it, comes back into their Okay. So, you know, if I was to do this middle circumference line. His belly button would be somewhere around there and thus the kind of hanging chest. So he's looking obese. That kind of stuff. Um, I don't think I want to draw his junk. So instead, I'll put some type of band here with a simple loincloth or whatever. And the band is wrapping around what would be his waist type of thing, right? It's Let's wrap it around this way and stuff, Okay? I don't think there were a lot of clothes. Generally speaking, I think they might have plates of armour somewhere. Not even armor like usually leather armor And what I've seen in depictions him. Ah, for the hand. So we're gonna have a very large, um, form coming out into this elbow and in this hand, I just want to kind of rough it in right now, it's gonna be really large. Here is 1234 The four knuckles And I want the fingers. I'm just gonna rough out where I might have those kind of digits or something like that. I want them to be fat. So with this one, you know, I want to emphasize the knuckles and the ends and stuff. So if I come in here, you know, this knuckle would be really emphasized, and it would pull down into the hand. Okay, This one would wrap around this big joint here and then come out to this one. We're wrapping these joints, making them huge appear, Hugh trip Cool. And then something like this, with some really gnarly fingernails all beaten, chewed up or something like that. Barely hanging on, right, that type of thing. So, yeah, when you're drawing a character like this, try to make sure you make it as nasty and gnarly as you can type, because that's how I picture them. You know, they're hanging out. I've got the book, The Hobbit in mind where ah, these guys were hanging out in the forest and they're all just dumb wanting to eat some little soft Harbert Caesar. Maybe I'll wrap this one behind or something. So the thumb might come out this way. Er, something along those lines. Cool. So obviously this is really rough, but you can see how it's just hanging there. It looks all half mangled or just bony. But media at the same time if that makes sense. So I'll come up here rough in the shoulder using this nice outline that we've got going on here. Income, The bicep will be here, and the tricep will come down in the back here. Come. Maybe a bit of the the back muscles, lattes will come in here, back into these obliques and then the belly. What I'll do is I'll emphasize this belly more as it hangs over whatever belt and stuff, and I start to add in, Um, you know, more details. So I'm gonna come in below here and start to wrap the the leg in and then the glute his but is gonna be peeking out behind here. Cramp now, when it comes to the feet. Kind of just gonna rough in the leg here on this one, too, when it comes to the feet. I'm not. I haven't quite decided. Like, I think there's There's a lot of different ways to do this. I've seen them kind of hooved. I've seen them almost rye node like a three toed rhino or something like that. Um, you know what? I think that's what I'm gonna go for. You know, these fantasy creatures. You can kind of do them however you want, Right? Okay, So I'm going to kind of rough in the three toes coming here, and I want him to have a strong base. This is almost like a tree trunk room. So it's gonna come something like this. This this will be the the nails and stuff and then the toes kind of coming off of it, right? And then it will come up into the leg nice and stable. Maybe a bit of ah, slight ankle in there or something from the side. I think what I'll only do it will show one and show, too. And then that will come up, right? Something along these lines. Here we go and the toenail goes in there. Tonio goes in there. And then a bit of the ankle there. The calf, the foot. Right. So is this making sense so far? You know, we want muscular but mangled. I think that's that's the nicest week. I could kind of describe how I would be approaching these guys and stuff, right? Muscular, but mangled. And I realized, like he's kind of off balance right now. I think I would fix that a little bit by by beefing up back here and in here and stuff. But I want him to have that awkward look. Ease. He's awkward. He's lanky. He's strange looking, you know? Um, so over here I might have, uh, the fingertips wrapped around something. What did I do? I give him five. Right. So hide that one. Here's another knuckle. So, you know, I might come in. Here's one. Here's the other knuckles, right? Wrapping around, wrapping around. And there's the the fingernails wrapping around to some gnarly fingernails. Some gnarly fingernails. Yeah. I mean, as as it tapers out and then maybe have some awkwardly bent thumb here or something like that because he's not really coordinated as he grips things or anything. And then I could have I don't know, some type of club sticking out, right? He's he's holding onto here. Maybe with some spikes. Some protrusions coming off of it, right? Have the wood design going on. This is all really rough. If I was toe finish it and stuff you'd see, you know, maybe one or two more layers on this toe really wrap it up. Came more of the palm. What did I say some gnarly forms, right? Here we go. And then the bicep in here, a little hint of the tricep. Here we go. Okay, So this is a rough face without any textures yet or anything. This earth. Sorry. This is her rough party without any textures. Except, I guess maybe, you know, a little bit of detail ing on the toenails and stuff, but now we're going to come into the face. How do we drawn Ogres Face? Well, again, since we've never seen one were kind of just guessing the one. The one thing that I would say is like I've seen is, uh, this kind of tusk looking mouth. So I'm gonna kind of draw in a jaw right now, you know, um, some pouty lips and draw in these kind of gnarly tusk type things, right? Protruding from the bottom. Now, whether ah, I draw on upper lip or not, I don't know, Um I think I'll just kind of bring it up like this. And I kind of like this. Look as it as if it's coming up to some kind of snout or something. Room. We can bring it up to the snout. This will come back into some type of jawline here. Okay, Now for the upper portion here. I think what I would do is bring the brow something along these lines, right? Have the brow coming over here and then have, you know, have the brow protruding on this end. Have it come in. And maybe something like that. Right? Come. So what is this showing? This is showing, like, massive tusks. You know, uh, for for lower teeth. Andi, some type of I. You know, I'm kind of got this one with a sleepy I It's it's been hanging, so I can pretend there's some type of scar here I could fix it to if I want, but I kind of like it that way. Okay, so this is gonna come around. Maybe I'll give it another bump to the head and then maybe some tiny, um, some tiny year. I think they got tiny little years, right coming round back. Now, how do I connect this floating head? Well, he's gonna have some kind of neck just a little bit. Not much, though. So here's the center line. This is where the corners of the neck would come in the tendons and stuff. Right? So we're gonna bring this band in, then I'm also gonna rough out these traps and stuff, right? I want this coming here and looking monstrous. Okay? Yeah. He's looking about how I kind of envision him ugly, gangly, but still kind of cool looking. Now when it comes to, ah, any other details on them, what I usually do is in the next stage, Um, when I'm doing my more of my final lines all start to add, like some patterns, some skin texture ring or something like that. Like a little bit like a rhino skin. Do you mean like there'll be some some cross patterns to give it that the toughness of a rhino's hide or something? You know, I mean, it doesn't have to be everywhere, but, ah, in enough places that it looks like it would be a tough animals hide or something. You can wrap it around the circumference off, whatever it is, um, of the muscle group or whatever. So you can go through. I'm not going to go through the whole thing because I think you're kind of getting the point you can like, I said. You just add these interesting texture lines, and it'll give that that kind of hard skin feeling, too. And write another thing that I do is not just like random circles and spots, right, but almost boils. I'll put like some postural this stuff because I keep thinking like these guys, they don't take care of their bodies. Right? So it'll be a bump or be a big boil with some some, you know, inflammation around it or something like that. Ah, you can put some veins. I might have some veins coming at this point or something, but really not that much. It's interesting. You don't wanna have, um, have them look defined or anything like that. You know, you can have some veins in the forearms. Maybe because it gives a kind of a gnarly look to it, right? In case you can outline a few veins in the forms. But really, you want it looking like somebody's been living in the garbage for a while or something? Okay. You're gonna have some old wounds, some some scars, that kind of flow, right? Something along those lines. But yeah, that's what you want to do is add a bunch of details to it. Like I said, you could put some texture ring and these fingernails or toenails and stuff, right? Start to add. Break them off. They shouldn't be beautiful, Noah. No manicures under that bridge. Um, I think that's where we're going to leave it if you want to. What you could do next would be coming in and adding, you know, a little bit of of, ah, leather type of of rap or something like that at different points, some type of armor that may be hangs on them. You know, obviously, they're not gonna, um, clothe themselves very well, but you can have some stuff hanging on these guys, right? So they as if they tied it up, But then it just kind of hangs down. They don't they don't know how how to keep it tied or something. You know, it's just kind of hanging off of them. So, um, you know, wrapping around a wrist, that type of thing, there we go. And it looks good. Toe have, like, some stuff hanging off them and everything, right? If you put any clothes on them, I would say Keep it super basic. Keep you know, keep it ugly. Keep it a Ziff. You know, it's it was put on by something with a very low I Q. That's extremely dirty. OK, so that's our gog Magog. Basically some type of ogre. Right? Um, pushing those normal human proportions away from anything that could be considered athletic or at all beautiful into something that's really twisted and ugly and disproportion and awkward and living under a bridge near you. I hope you know, you come up with some creations on your own. They don't have to look like this guy. You know, this is kind of my vision of him and stuff I got right. Maybe you you imagine them with huge noses. I've seen that before, right? These kind of monstrous noses and almost comical looking and stuff, right? That's cool, too. You find what you think suits the character you're trying to create. Okay? It suits the villain in your story or something. Or maybe this is a good guy. You never know. Right? Either way, keep practicing, and then show me what you got 9. Aliens: Hey, what's up, guys? And here and I've got another unit for you. This time we're gonna be covering aliens. Now, the reason I'm focusing on aliens here, not I've never been visited by any is more because up we can play with them what we want, right? There's no established legends to them or anything like that. There's there's no, you know, no set way that they have to be done, but they could be come from from any other planet with, you know, gashes, atmospheres with heavy gravity, whatever it is. So what I want to do in this unit is really play around and mess with proportions a lot. Okay, so, yeah, I want to take that eight heads high unit, you know, with the the simplified skeleton and kind of throw it out the window and say, Listen, we're working on aliens here, so let's just have some fun with it and see what we come up with. All right, Let's get to Okay, So we're gonna start off by Don't be into the first figure here. It's first alien time. And, you know, when it comes to aliens, um, well, I've never seen one, so I can't say was right. Roll. That's the cool thing, right? Is like, Ah, this could be right. Or this could be way off. Who knows? But, uh, it's all in my head, which is not always the most rational place. Okay, so I'm going to start with Let's see one line straight up and down. I'm gonna buy a sect. It this, um You know, we've done that eight heads high so many times. And as I've said in other videos, I hope you I went and watched it before and stuff like that. The bonus unit, I put it the beginning of this course. Right. Um but now I'm going to do something different, because while I've got an opportunity Ah, an opportunity to something strange because aliens are grounded and necessarily our reality . So what I'm gonna do is I'm gonna put one head. This is gonna be too hot. Two has high one head here on the hip here and maybe some 70 here. I'm just trying to goof around now. Normally, if this is the head, I might put the shoulders down here. Gonna put something different here. Just put the shoulders up here and then put these, like, mega mega man arms down here and then kind of connect connected media. The elbow can come right here like this because I think this is like the hands down here. This is the form and these giant for And then there is the circumference of the face. Right. This is make a little bit bit of sense so far. So let's securities over. Same kind of thing. But now we're gonna do a bit of a current to turn here. We're gonna have the same thing here, but we're gonna have, um, the center line here, coming along here, coming through here. We're gonna have our hit roughly here. And of course, the center line also follows that turn its nose. Obviously facing this way, we're gonna put this giant shoulder thing, the appearance one here, draw through kind of thing. But then we can have the big form here. Maybe a big forearm. Take me here. That having a connector two years, um, under these cute little I don't know what I'm gonna do for feet. What do we think? That's not bad. You know, I think this is looking kind of beard. You're no different. And that's what I want. I want that for aliens. I want them to look kind a kind of strange, right? Um, pushing our proportions and stuff to somewhere that we haven't brought it before. So let's see if I kind of zoom in here. You're talking, make us something somewhat sensible. Just gonna kind of sketch this. So I'm gonna put, like, a shoulder pad up here is something Ben can come down. Just something. Yeah, I think I'm gonna make this kind of, like, bit of an armored you and then maybe have some people hole here can have brought him here. Um, there Main head. I was sitting here and maybe some cable line that follows the center line. Um, you being Iron Man mouth on these lines, and if I'm gonna follow this this lie line, baby something here, something coming off this eyes. Okay, so now I don't have to follow this body. Exactly. Kind of coming here. Yeah, come back around and it's gonna come down to this foot out, and I can fold that circumference, so maybe we'll stick with seen here, Have something on the boot here. Everything's going with this this Louisville pattern to the armor so I can have this. This one computer didn't pattern down there. Do I want anything in the middle here? Don't have almost, like, beltline years just to fall down the middle crotch Steiner, but not really, you know, get you know, put this on the other side here. Um, I'm showing the underside of right so that this outside over here is gonna be on the way outside. Here. Come with that idea. What kind of tied this in beat this smaller? Uh, so there's a weird. Okay, you get anything that I kind of makes a bunch of sense, but no sense. It's just this weird shaped right. And so I can The point of this is that it works within what it's doing. You know, it could turn It can function within the state. Indignities didn't spend up and stuff, right? Um I'm not gonna see if you but I am going to say it works, So why don't I try? No, I'll switch back to blue. Um, where we say something said Yeah. Okay. So I'm gonna come down here, do the same thing again, girl. Kind of us straight. You know, cut line. Uh, this time I'm gonna have the head quite small. I'm gonna have the torso quite long and then, Yeah, go with hugely. A rough in these little makes. Kind of simple, like so it's gonna come up just in time. This will have smaller hip, and then we'll have is kind of this long. You don't want this kind of being stalked looking tape tours, and then I want to go with this flow. I wanna have something up here. This could be like the scapula, shoulder bleed type of thing. And then from somewhere in the mid point, the the arms gonna hang down Something like this? No. Yeah, it's kind of funky. Of course not, of course. But maybe midway with the elbow or something like that, and still with this head. Um, let's keep it kind of a little bit simple. Looking on what kind of flight? Imagine yes. Fitting here that a year ago get us kind of looking a Munish, right? No. Now, let's say we wanted to turn it carrying silver. Carry this over there. Um, you would be that autumn hit part. Here's the head. So the head me turns this way. Right? And they have this fin coming up or something. Okay, um, I'll start with the Oval again, but And I'm gonna keep the same similar shape because I kind of want this this steeper sheet. But remember, this comes up, and this is gonna be the shoulder blade coming off of medium somewhere here at the shoulder blades, they come up and then somewhere there. So on this site, the shoulder that came up on the other side ahead and close to draw through that the joint start there it just come down from this level, come down. You do. And that looks there. I'm down to about this long to hand. It's there. And then however, I want to do these little feet something strange looking. But once again, Mr Sam, All right, so then I can start to come in here And, you know, from from this point, maybe even I funkier with this Finn split up. Here's a bit of the, uh, skill No. One I had a lot of details in right now. I just kind of watch some basics. There are. You have things when it comes here. The next into Maybe Walker. You kind of see this as a chest. Doesn't have to have the anatomy that we're used to. This comes off up into this part. Um, I want this. Why can't insect looking like Monsieur Tapered parts to it, and then it bones out right? No, like it kind of flares out into the joint. Okay, So I won't necessarily Who everything doing on this side? You know what I could put like a imagine is a pattern on this. This is all just playing around. See what it would be like. Counts didn't come down to here and then Oh, yeah, it looks cool. He's kind of imagine. And who Claude tapes in on the other side here. Maybe I could show depending on what to do. The second show Rows of something here. Sharp teeth only Maybe Spike certain depends out. You know, this is right. Now what I want to show you was more off structure design, but you can go in, start to play around with it, start to see what you would like to do with it, right? Cool. Okay. So looking kind of your so far. That's not what I could do is kind of modulate this like, put it in tow, small sections here and stuff. And this might even have that more of its kind of, like insects slash bamboo. She interested now that I'm looking at it more starting to play out praying Mantis tapes. So when I come, I've always rough this down. And of course I made it is a little booties, but it doesn't have to be that you can be, you know, little claws or her weird appendages that but don't necessarily make sense. I'm just using this. This area is kind of beast port, something like that. So what do you want to do with your designs? Be able to do a straight on shot, 1/4 turn side, turn back, really turning these guys around stuff like, see, see how they look for a bunch of different angles. So if you ever do come up with, uh, concept that you want to use a book or anything, well, you've got it from every angle. You know what it looks like from behind, you know, but it's how it's supposed to look. And then you're not kind of guessing as as you're going through it. Okay? The last one I want to look at is as would want straight across here is I have a big headed guy. Not as big as the 1st 1 but more six U team. It's divided into three. Must do that. So we're gonna go with the We've been round head here. Kind of like a Johnny being body or something like that. And then no feet, something like this. And so it almost childlike. Yes. You, Um Yeah. Now, I'm kind of I'm liking this as a child, you know, instead of just a child. Don't wanna put like some take butch antennas here or something. Right? Something different. Um, maybe something on the Boucha Put some tape of I was gonna get corny. Think of let's send these roller skates or something that just cause, you know, they had set in stuff again. I don't know. Let's see. Maybe all circa, flesh this out a little bit and see what comes to mind sometimes. Know as you're just kind of rolling. Don't get too caught up in it. Don't get too caught up in everything that you want. Is that you know, just see where it takes, you start sketching things. So you know what that like. Okay, so here's my center line. By this little evening. Well, that's a kick. Things off inside here during one of have you guys. You something along the lines, right? The last boys keep so far that camp torso. You really drawn much shoulder. So just let I'm like this. Um, I'm still not coming up with anything. What I want for that makes this guy more two state. I have everything all wired up. You mean like, uh, let's say, for example, de he's got a backpack on. So I'm gonna kind of do some type of pack that I could barely see here. Movies draw through tape thing. So his wires on back into this pack he's got some special mitts on is on his arms, and they come back into the pack where maybe there's something underneath his feet or something. Given bounce, like whatever met type of additions. He might have group wire back into this pack. I wanted to see why not? Says it all has to be One puts Younis in there. No. Okay. So what's he looking like? Yeah, looks like a shoot. Little Amy, right? Like, uh, if he came to the planet, I don't think there would be a whole lot of people screaming in fear or anything like that , Right? And that's OK. No, not I think what happens is hand. Everybody that tries to draw something tries to draw the biggest, most badass creature or evening that they can come up with, or something like that and cool. You know, there's definitely room for that. But that's not always what's needed. You know, sometimes the character has to be cute, honey Funny. Whatever it is that makes the story work, right. So I'm just kind of roughing things right now. Um, you don't always have to draw the craziest looking thing, right? Want to have a bit of diversity, your ability to create. And so that's what this is about, is I wanted to show you guys that Listen, you could do a lot more with what's in front of you, you know, not only in body types, but you don't always have to do some really crazy. Uh, when I use the term, but waited out character something like, Don't get me wrong. I love to draw muscles that up to draw monsters. I love to draw, um, all that stuff, right? But yeah, sometimes it's fun just to draw something almost like a cheapie or something like that. That can be I did. You kids can look at That's the whole purpose of Eagle increases being would create whatever is needed at the time case and doing little wires back and stuff. It's also good to draw through hopes here on this one. Media can't see the backpack, but on the turn around. Now, for some reason, I want to draw him almost like it. Shit. Schwartz years down. No, I'm kidding. Just I guess I'm kind of thinking of moments like, Alien team now that it's kind of old. Yes. Oh, cures. I want to come in off the hume. Que you Here. Okay, so there. We've got three kind of alien designs, Um, one with it, You know, basically a two headed high one, right? This one was more to can headed high. And this one's Teoh. They're all very different. And the reason they're all very different is not because one looks like a bamboo shoot. One looks like a dog that you don't to toy, bamboo shoot and angsty teen. Um but really, they're different because we just played with proportions toe to roll with, Right to start off were like, Okay, well, this one's gonna be totally This one's gonna be only two heads high. What can I do? Is that right? So this would be awesome if what you could do is either as somebody in your in your household or something like that. Pick some random numbers like June 7 21. You know, now draw three characters. One is two heads high when a seven heads high, Long is 21. And how would you make it work? Um, I've done this with my students a lot before. Just, you know, throw up some random numbers and stuff and let's see what you come up with. I think it's awesome because you get really creative. Um, you can take it beyond that to you. Good. For example, scroll through them your list of TV shows or something, and just take something from that. You know, whether it's like, OK, 10 heads, high high school or two has high and just kind of take a keyword to get you started off as a jump point. So, yeah, without unions here but just ends for the second. Doing OK? Yeah, about it. But, I mean, we want to go beyond that. We want to start. I'm thinking of, you know, little works that they might have. Oh, you know, was the true toy guy was Maybe he's a prisoner on an alien spaceship trying to think of things to help flesh it out a little bit. So now that I've got that in mind prison guard on an alien spaceship, maybe there would be I would start to add restraint devices to remember something like that , or like electrical Zappala things on on his hands or something. Your family, I'm saying, is that you can start to go off very simple premise and then start to play with it, start to enjoy it to start to see what flows out of you and then see okay able. Where's the next level that I could take this work And I have made a little bit of stories , This character. Either way, I hope that really pushing the proportions here has helped. I hope that it it's getting creative and I really hope that you do that assignment that I'm saying here. If you do some wacky, different numbers for how heads, how me It's high and then you send it often, I think it would be awesome to see it. So that's your assignment and see some, uh, multiple versions maintenance. 10. The Centaur: Hey, what's up, guys? We're here with another unit, and this time we're gonna be looking at centers. Cool stuff, right? Basically half human humanoid, right in half horse. Now, listen, if you've done my previous course on how to draw animals, you're going to see that we've got a unit in there for horses. Um, if you've done that unit, jeez, thes horses are gonna be so much easier for you, right? But if you haven't, I think you know, we'll explain enough here that you'll still be OK to manage it. Right? But when it comes to drawing the human form in this course, I've included, uh, something from my anatomy course. And that is a simplified skeleton viewpoint of of humans. Okay, so before you get into centers here, I want you to go back or go forward. Whichever order you're going and it's stuff and head to that bonus unit of human anatomy. Simplified skeleton. Okay, I think it's gonna really be crucial for you here to help you work your way through and help with some of the speed that we're gonna be looking at it here. Right. So, uh, take this moment. Put it on pause or jump out of it and head to that anatomy unit. That simplified skeleton unit for humans. OK, and now we're back. I'm hoping that you went and did what I said to do, right? If you ignored me, you did so at your peril. Okay, so in front of us here, we've got kind of Ah, you can see this horrible hodgepodge. This mismatch of of characters that I put together from three D models for him. I did that. Kind of give us a little bit of ease to start off with. We'll use some photo references and will draw some on our own and stuff. But what I want to show you is the structure. Okay, first structure we've got that we're gonna be really looking at Is this Over here? This is basically you could see. It's the rib cage, right? You're gonna have the backbone come back into the hips. Okay, so we've got the rib cage and we've got the hips. Those air are too big landmarks that we could look for if we come off to this side here. We've got the rib cage, but we can see the the front of it. A bit of the circumference. Right? So imagine, you know, like, we've done this before. We've got a circle, and then we start to turn that circle more and more and more while in this case, we've got this kind of oval, and we start to turn it and then the hips behind it, and you'll see a little bit of draw through here, right? Okay, because once again, they'll be that that center line coming forward. Okay, so we've got that. And what do we have next? Well, we can bring this back bone up all the way. We've got our head, right, so we'll simplify the head. We've got heart torso from the side here. Okay, which is that kind of chevron looking thing, And then it comes down into the abdominal area, right? We basically how I look it is I'm gonna use the shoulder blades of this horse, the scapula here, as you know, as as if it was the hip of this human. Okay, so we can kind of block it all in here. It's gonna come down from this shoulder blade area here, OK? The bottom of this. So you'd almost think of where the humans leg would be coming from the hip type of thing. Right. Uh, obviously, we're only working with kind of the top half of the human here. Right? So we've got you know, we've got the headline. We've got the kind of chest line we've got the belly button line, and then we've got the crotch level. Okay. Like, if you took my advice and you watch that simplified skeleton, you understand what I'm talking about here, right at this crotch level is actually gonna be where that shoulder blade insertion of the horse legs starts from, comes down okay to what could be a knee right down to what could be an ankle and then down into what could be a hoof. What could be what is right? Um, messing with it here. Okay. So listen, speaking of other bonuses here and other videos, um, I've done up a unit that focuses entirely on feet, claws, paws, hands, hooves, that type of thing. Okay, So, uh, you know, if you haven't the way I'm ordering this course is that hopefully you've You've watched that simplified anatomy simplified structure of humans first. And you've watched that hooves video first, So this is kind of just a reminder. OK, if you've skipped ahead, you're gonna find yourself in a little bit of trouble at this point, OK? Because I'm not going to spend tons of time on hooves here. Um, yeah. Hopefully you did it in the order that I suggested it and that it's gonna be working better for you. So we've got the back leg here. Once again, we can kind of start it almost from the same line here, coming down to this knee coming down to what could be ah, hell, her ankle heal kind of thing and then down into the hoof. Okay, so you're gonna see with the horse's leg here, you've got one to and then really, it comes three. We don't get a lot of flexibility out of this joint. There's a little bit, but there's not tons, OK? And then into the hoof. Okay, so again, do that again. One to three ankle and then down into the hoof. 123 ankle, and then below, into the off. Okay, um, this one will do the same one a little bit longer in the front there too. So 123 But that's the hoof. Let's see if we can move that and do it here. Right? Eso Here's where the hip would be on the human. Okay, But instead, were using this as the entire mass of the shoulder blade here, and it's gonna come down is going to start somewhere around here. Okay, It's gonna come down to this point. Will hit one. Well hit, too. And then we'll hit the hoof on the back legs. Okay, one, two, and then the hoof on the front leg here, Rather. And then that same kind of coming back here is gonna come from this point at this point. One to three. Ankle hoof. One, 23 Ankle hoof. Okay. And we could have the center line going up the front if we want, You know, here's the center line of the of the horses Torso, right. And then it goes up this center line of the human body, and here we can see a better example of that Chevron. Okay, we've got the shoulders in here, right camp, Okay. And so we know that, you know, we've got the headline, the chest, abdominal crotch, and this is where we start to add in the limbs for the horse. Right? And, of course, you can kind of measure it out on this one. Head, chest, roughly. Belly button. Right, Roughly crotch. And then we start to bring the limbs of the horse down from that point. Okay? When we're looking at the these back legs from the front, you know, even though it goes 123 and down from the front, they look, they can appear relatively straight. But we can still add a bit of that depth or the joints into them and stuff. Right? Okay. Okay. So how are we gonna draw this? Let's take it below here. We'll take this one in the middle here because I like the flow of it a little bit. We'll kind of have the rib cage the hip. I'm gonna come up here. Okay? I will use the middle line along here. Use this for the front legs and the rear. Now, what's the measurement? If we've got foreheads to here, maybe five, six, seven and a bit we could put it to 7 to 8. Okay. So if we wanna have it here, we're gonna count up. Maybe one, 23 four. We can have our head at this height here. Okay. You know something along these lines? Torso in here somewhere. Tip front of the torso, Maybe comes something along these lines, right? And then we could take this same height from here to here, and I'm measuring it kind of down. And this is where the front feet are gonna go. So I could, you know, put in the hoof here and hear if I really want to bring it on down And then because this is going back, you know, in the in the distance, I could draw on the rear hooves somewhere back here, right along the same line, actually put it here and, you know, have the the leg in the same formation coming back down. Something along those lines. Right? Okay. So that's how you're gonna try to structure your You know, your center. You're gonna use the basic shape of the horse, plus the man man slash woman. It depends on how big you want the proportions to be. Um, you know, like I said, I would go with the eight heads toll kind of basic structure for height, but for for with or for length. Rather, let's say if we want to measure this, um, you know, if I was to make this head into a bit of a square, right, Okay, so this would be one to three for five. Maybe I could go with six or something like that. So eight heads toll six heads long, right? That's one way you could do it. It depends on you know you Are you drawing a little pony or you're drawing a Clydesdale, right? Like it's the effect that you want. It's the proportion that you want. So you could bump this down to seven. And this up to seven if you want, or something, right, It's really kind of your design. Because to be frank, I haven't seen a lot of real life centers running around, and so it's kind of hard for us to say, you know, this is absolutely correct, and this is absolutely incorrect, right? That's not really how it works. Um, okay, So what I did was I kind of smashed two photos together here askew. Comptel and I left his butt cheeks in here for a reason because, you know, I wanted to show the form of what we're studying here for the horses. But I just like saying that. Okay, so we've got the hip here at the back, right? And we're gonna have the basically, we get to see the night circumference of it with the butt crack. Right? We got the rib cage here, underneath here, right. It's this oval, okay? And so we can see once again, you know, let let's say right about here. Might be the joint where we start to see the, um the limbs start to come out of right income, and we can do it will do to it a time here. I actually like toe work on two examples at the same time. So we can go in and kind of, you know, school about the, uh the basic skeleton on this guy. We can see what I like to do is look for center lines. Right. So on the center line for better rewards. We've got the horses crack. Right. So we're doing this center line, it comes up, comes along the back here, comes up his backbone, and then to the head. OK, so it's nice to find, you know, the this center line. Where of it is? Ah, usually with the horse. It's pretty simple, right? With a horse. We're kind of going like this along the back. But now that we've added this human torso, when we get to have that extra swoop up top room Okay, then we can add in the shoulders, break down and add in different points of the skeleton. Uh, once again, we've got the legs here. It's gonna come down to this section and, like, you know, I'm kind of I enjoyed doing both at the same time here, so I'm kind of going to do that. The torso section here, the center line and notice how the center line kind of nicely flows up to her. Right, The hip, the where we're gonna have all the limbs coming out of. It's gonna come from here down to here, down to the ankle and to hoof from here. Don't. Here, down to the ankle and then down to the hoof Kip. We can have this section coming down to here out to the knee kind of thing, right down to the ankle and then to the hoof. This section coming to here down to the knee, kind of to the ankle and then to the hoof. Let's see if we can do that again. Down to knee, kind of ankle on hoof. And it's gonna be on this side, down to here, down to the knee and then down to the hoof. Right. So we've got one to three and four Got 123 and four. One to three and four. And I want you to practice out with limbs. Okay? It's gonna take a while. 123 and hoof. That's easier. Way to think of it. Right, Um, one to three and Huff. So keep keep rolling with that one to three and hoof. Um, you know, if you keep practicing with it, it'll eventually come to you. And occasionally you'll forget it because, you know, you've got a straight leg, right? And then you've got the hoof, so you can kind of say, Okay, one, 23 and hoof, right. That's okay. You know, like especially these front legs. They can give this distortion that it's just, you know, it's just straight. It's the same as with a human leg. We can kind of have this straight looking thing right 1123 and then hoof. Right, so we can see it. Mawr, though, when we're running, let's do this big oval and then the smaller one for the But we're gonna have this middle line through here, you know, Here's the head. Right, chest, abdomen. And then down into this middle line here, we're gonna go one. This is where the joints are gonna come off one, 23 and then the hoof. And on the other side of it, it's doing the same thing. It's coming down. One, 23 and in the hoof, right. This one's gonna come here. One, 23 and then the hoof. And on the other side of it, it's gonna come. 12 three. And in the hoof, you really have to practice watching horses as they run the strides and stuff, right? And like I said, um, if you took the animal unit, you'll see there's a lot more involved in horses and everything. Uh, but I think we're doing enough here for you to kind of get it. Okay, so we're gonna have Imagine if it was kind of like this a little bit, right? So we're gonna try to repeat this, we're gonna have this one, 23 and then a hoof. And we're gonna go one to three and then Huff. And so usually, when ah, horses running, you're gonna find, you know, the legs air coming in towards each other or they're they're kicking back to you know, this legs coming forward, these legs are stepping forward. These legs are coming back, right? So in this case, you know, I could actually I'm going to show that, uh, like I said, I did it in the horse video, but I'll show it here first trip. You can have, for example, put the feet kind of like this. And of course, you're gonna put the brakes in them like the different joints and everything like that. And this is one part of the stride and Kim So this is when it's the back is arc slightly. When it's going in this direction and reaching out, you're gonna have the hooves coming forward and these ones back OK, so it kind of the scissor in, and then they scissor route and stuff. Right? Okay, So, looking at the torso here, this one, uh, she's kind of twisting and we can have this. It's your choice. How much flexibility you want to give the like, how much disconnect you want to give the human torso on top and stuff, Right? Your choice on that? I just realized, you know, you don't want toe. As soon as you start to rotate too much and bend the torso away, it starts to feel really disconnected from this. So what I would do is, you know, just have this nice flowing center line and realize that maybe here you could have that that full turn. But maybe here it's it's turning this way here. It's turning this way, and then we're back kind of to center along this way, right? So don't overturn right away or anything by the time it gets to the shoulder. And, of course, the head can turn any any which way it wants, right? Okay, but yeah, we know that from our hips from our hips to our shoulder, we can have this amount of turn. I think it's reasonable to do that same type of thing. So if you got a torso twisting a little bit by the time it gets up here, you know, maybe it's starting at this point. And it's ending at this point that the shoulders air turned all the way out there and stuff , right? If that makes sense to you, Okay. So lots of rough things going on. The main thing I would suggest is watch the center lines and this one, it would be the back, you know, coming out to the tail, right, Or we can trace the front here and find the center line here and then go off for the joints and the details and everything like that. So when you're drawing it, you know, think of what you're doing with the horses. The horse is everything standing still? Okay. If it's standing still, then we know that, you know, we could divide it in half. Roughly right, that the feet are gonna be down here, that we're gonna have the main body of the torso. The hip, right. Um, we said if it's in half, it's right about here. We know that this section that the body of the the Chevron for the chest would be somewhere around here you can draw the shoulders in, you can have the joints, and you could see how They're starting to line up a little bit unless I start twisting the torso can draw some of the joints. Right. Cool. You can have, uh, 12 three, and then hoof. One, 23 and then hoof. This one of one, Actually, Usually these front legs go a little bit straighter. Unless we want to do some reason with it. 123 and then hoof. 123 and then off. Something like that. Right. And then who knows what this guy's doing with his arms? Right? You can have it. Ah, what we want to do with this guy's arms? Maybe put him down about here and he's got a sword in his hand. Something simple. Right? Connect, Connect. Go halfway. There we go. Cool. Okay. And then you watch the back. That back would come along this way. Come over and the horse's tail Could be something along those lines. Then you start to really beef it out. Put the detail into it, right? Using the references that we've got so far, we know that there's a lot of detail or a lot of meat in the upper part, right coming down, that type of thing right. Cool. So very basic center. But to review torso of a human, may or female. Your choice. Right. The main body of a horse obviously minus the head. Right. Key point would be start with a standard eight heads high midpoint, which would be crotch level in the human would be shoulder blade level, you know, joint level on both the front and back joints of the horse. Okay, so we're gonna have roughly four heads below four heads high camp. You can change that. You can manipulate it for whatever center you want. You know the proportions that you want. If you want to make it look a little bit ridiculous. That's cool, too, because these air fantasy creatures, right? And the other main thing that I want to get at is that you want to be practicing looking at rial references. Now, probably by now, you're pretty decent drawing humans and stuff, right? Uh, but not the, you know, not amazing. Drawing horses. This was a bit of an intro lesson into how to draw the horse, but there's a lot more in my animals unit that will help you with very specific issues dealing with horses and stuff from And of course, you know, there I put their heads on them and everything, right, But this really should be a good start for you. Get a lot of references. You know, you were hopefully following along with me on this unit, but I'm going to give you the blank sheet so that, you know, it's not all my scribbles over top of it and everything that you're able to draw on your own draw out the legs to practice at many times to see how these 123 and then hoof How these move different how these different horse legs function and stuff, right? And then start looking up horses on your own. See how they run, see how they stand. I've given you kind of things from the side from the front 3/4 views and stuff. I get in a bit of running here, but of course, it's a very dynamic animal, right. So you want to make sure that you are really be searched into it before you do some big masterpiece or anything, right? Last point I want to talk about is this, you know, rotational twist on separating the human torso from the horse body. Uh, don't go too far, okay? Think about, you know, if if the hip is here, you know, we're only gonna look at your own body How much you could turn from your own hip. That's how that's the limitation You want to put on the center for how much the shoulders can turn away from this main section attachment here into the horse body and stuff from Okay. I hope this was helpful for you. And I hope that you dig centers. You know, uh, we don't really have a lot of references out here for actual centers. So look up how other people have done it and see if that kind of matches what we're doing here in this course. Right? See if your you look and say, Ah, yeah, OK, I see it. Now I see the connection, and then you'll have more confidence drawing it right? Good luck, guys. And keep practicing 11. The Swamp Creature: pay as we're back with another video unit here for you. This time we're gonna be talking about a swamp creature. Um, yeah, I think you know, we've seen swamp creatures kind of drawn in different ways before and stuff my focus is gonna be, in part how to render texturizing at Swan Creature. But also, how to do a bit of a character. Turn around. Okay, so this is a little bit when we get into character creation stuff I got We want to know how toe draw it from different angles, that type of thing. Now, here's my morning. Wasn't yet. Before you do this, I hope you've done that simplified skeleton course that I threw in at the beginning of our class. That a human being of this course. Okay, that unit is gonna help you tons here, So let's take a look. We've got this normal looking person. Well, actually, no really super looking. We're gonna have a dividing line going down the middle. Okay, cut it at the top. Cut it at the bottom. Roughly about halfway is here. Right. Here's one. Head two heads three heads somewhere about the belly button. Okay, Coming down you've got another head. Well, actually, this courtship higher, I think because he's got some. Hey, it is what? Two heads, heads, and so roughly, this is a eight headed character hurt. Okay, so we know that we can do the little torso Chevron here, that hips the shoulders. Like I said, if you've done that simplified skeleton, this is looking pretty normal for But this is where we start to throw some variation. Let's do our center mine right next to it. Okay, well, let's change some things up. I want to move the lakes like the crotch level down. I want to make the head here, but I'm thinking I'm gonna have the head, maybe about the same size or so. But then I want the shoulder with to be much wider than the one we've got going on here. OK, so it's gonna be kind of out here. Of course I'm running into a little bit lack of room, but that's OK. I'm also gonna put the hands way lower. So then the elbows come kind of come here. I'm gonna put the hips in here, and then we'll put some type of big feet in this time. Okay, so look at what I did. I exaggerated a torso. You know this from here to here is one, 23 for foreign a bit or something like that. 1234 4.5. The bottom here is maybe one to three. Right? So the torsos got the bulk of what we're working on here. Um, that's purposeful. That's what I want. But what did I say? We're gonna do a turnaround. So from the front, you know, here's the center line and everything, but I want to turn it around, just like how this character, their center line, is starting to turn. We've got the Chevron here starting to round up the chevron. Here's the hips. That certain ground out here, this type of thing. So how would I do it? Well, I'm gonna see if I could carry this over, carry this line over a little bit, So I'm gonna have that up to here, and it's gonna come something like this. It's still gonna be why, but if we know we'll put that shoulder, actually, we'll put that shoulder here and then kind of draw through on site will have the big chested, You know, the center line coming down this chest right and keep going Down. Here's the hips, and we're gonna have that center line and hip. I think hands were down to this level. So here's one hand. Here's another hand. They're gonna come down here. Levels will flee part way, and then we've got the feet. Feet are starting to go along this way, and the head is starting to turn slate. How we designed, like women will get into details even more later off how we want to design this swamp creature. But I wanted a swamp creature to be wider than the average person. But have these ridiculously are longs or long arms? I don't know why, but it just I want to show you guys how to kind of mix and match proportions here. Okay, so we're gonna carry some of these key points along bellybutton crotch feet. Head here is from the side. We're gonna put this big old torso in here, right? Hips And here Now, the center line is in the front here. This big shoulder here, coming down to the hand that is here. Something along those lines. These legs come down into a big old feet down there, and then we've got the head there. OK? Does this make sense? So this is street on. This is partial turn, and this is full facing to the side. Okay, we can see here, but we've messed with these proportions times wider. Huger torso is the meat. Next, we're going to start talking about adding details and tourists. One creature done the little Scalito turnarounds, right? But then we're gonna look a swamp, so I kind of wanted zooming here a little bit and talk about textures. You can see these are a bunch of lily pads, right? So we'll have these circular textures and maybe some something coming from them to me, like some branches into winding with them and stuff, right? You can draw the circular textures with some stuff in between them. So that's one texture. That and they could be overlapping. That could be some that are on top that are more dominant. Okay, we've got as we pan over here, we got branches, branches finding their way, right, Summer bent. Some are crisscrossing with various types of leaves at the ends and stuff, right? Some almost like bristles move it wider for some. Most what I think of it like a banana leaf or something. So you can have what I'm doing here is I'm tryingto think of. Well, if I have a sworn creature and look at the skeleton and then what? I'm gonna put on top of that skeleton, how am I gonna form in the meat trying to think of stuff that work for, um, for something that's rolling through a small point? So, you know, all these leaves, there are branches that are crisscrossing, Some are bent, some are broken. Right? Okay, some are coming off a main Stam got a bunch of bush happening, so I'm starting to combine things now. I'm looking at these little leaves here. I almost looked like kind of Muroi leaves. I mean, what's going on here, But this kind of, uh, Lee formation. Right. You can do it. Kind of like a sharp like this rounded out. You could have a branch going or sharp branch and then have the jutting off of it. You can't concede they can go wider, can you? Sharper So you can work with these different patterns and see No. Okay, What would I like? What am I like it here? I like some of what I saw earlier with the little lily pads. Maybe a bit of moss growing on something, right, Like rounded moss with a texture in there and stuff. I like the texture of the bristles. Some of the bristles for the sticks. I like sticks. They're sticking out. Went sometimes, right? Looks like snapped. You know, when you think about that something huge making its way through the jungle or swamp or whatever twigs, bushes, everything is gonna get stuck to it broken off all that kind of stuff. So as we're designing characters were thinking of. I only taught you before about no combining characters and making them still kind of functional looking and stuff. Right. But you will also want to place them in their environment. And specifically, that's why I chose this small creature. So how do we put it together? Okay, so I've kind of done out this rough sketch it proposed. Really? Doesn't matter. That's not what I'm focused on here, but I'm going to start to look at some details a little bit. Okay, so here's the eye line. Um and I'm gonna kind of come from the Bridget and no, was here a little bit just to draw in the eyes. I want them beady eyes looking things right. Um, what else am I doing here? I want to start Teoh at and where I would have some of the main texture. So why don't you like I've already got? You know, I'm kind of adding the human pieces to it. The bicep here or something like that. I want to have a humanoid, right? So the forearm, the elbows here, reforms coming into here. But then I also wanna have it kind of looking like it's part of the bush. Right? So I'm thinking maybe, oh, stemming from certain joints. It'll be bushes and stuff, right? Or, like leaves and stuff hurt. I want to have, uh, branches sticking out, sticking out of different things. So keep adding in these this type of bush, all these different leaves, see if they make sense. What I might do is have a bit of a branch here and then bristles. We talked about those bristles and stuff like that, right? How that texture could look kind of cool. Um, yeah, maybe bristles along the back, crisscrossing a little bit. This is the neck here, coming in. I don't want it exactly. Human physiology, but it's roughly following it. We could have some branches going through, um, branches again, sticking out rights and leaves coming out here, some of those bigger palm leaves or something and putting it into the back for the distance and stuff you can already seat. Oh, hey, Now, this is starting to take shape. And then maybe in a in a certain location, like around his chest. I don't know. I could have some of those a little bit of the lily pad patterns or something, right? You know, just in different Bunches around his physique through around here would be a form coming into here. Okay. So you can see how, like, kind of use the joint There may be coming off a here. Could be branch some leaves flaying off of here. Explain out, um, even off the fist itself. Maybe do something like this. We're gonna have branches and moss hanging down water. Hang down. Great. Um, yeah. Actually, now that I think about it, why don't we through him in a bit? of water here. His hands kind of just dipping in the water. And so he would be standing standing in the swamp. Regular trees are sticking up so used again, he starts to really blend in to his surroundings and stuff. Right? Um what else? Oh, maybe some connecting vines. Normal. So loosely connecting things there flowing around him and stuff, right? Here's the crotch. Sometimes it's just indiscriminate. Uh, believes right, Just leave patterns and everything. Now I would add memory once I start, start doing the finishing lines or some tighter lines on and stuff with the knees. I think I want to do some type of leaf pattern for the for the knee here, then have late come in behind it and then vines coming down into almost as if it was looking like a tree trunk or something. You know, it gives a certain stability now. I might not draw this section down here because it's under the water, but that's kind of what I'm going for us. Like the stability of a tree year. Some, especially in you ever see like those almost mangled What is it? Mangle man grows or whatever does not seem like we're the The roots kind of reach down into the water and stuff, right? So I'm thinking of having that type of texture with the route there and stuff, and then the knee has the kind of splayed out leaves, and then the late comes up from there with some roots and leaves that kind of stuff down the middle. Medial have signify. You know, sometimes it's good to have a landmarks and everything, right? So I can still keep nor this middle thing this middle line going down chest and then just have, you know, leaves going towards it or something like that were coming off of it, right? And then more those lily pads and everything around. So this is how would start. I would start to do my concept like this, roughing it out. Um, where I really start, though, is in this construction. You know, Actually, I think I made a wider this Is this more so? His torso. Maybe about this wide or something. Do the character turn around. Make sure that you kind of get the proportions down if you want the's big hands. I kind of went like this bigger feet up to the knees, right Here we go and turn it around. Then start to say okay, you know, what specific can I add to this character? That's not just proportionately different than human, but, um, you know, in in the outward appearance of stuff, right? So that I looked at it. Well, if he's a swamp creature, you know what? The textures. One of the patterns of the swamp, What kind of things? What I had to try. And then we come down and we can see while sketch it out. Even if you don't want to do kind of inaction, pools or anything, you kind of plot out the major parts of where you want it. And then you start finishing, you know, adding, adding in lines, maybe adding and color, adding in the details and stuff, right, whether it's gonna do a heavy thank you, your blood in the inks first and stuff like that, you know, put in all the blacks and then kind of start to take away your deal details from then on. Um, once you got this post down, it's kind of your choice, right? But you can see how this pose and this swamp creature was created out of the swamp out of our ideas of what could be in this swamp right on. That's the main point. This is like I said, this is a little bit different than the other units. The other units, we were just kind of combining no one entities and stuff, right? This one were created. So when we get into a character or creature creation, you start to really follow like some very basic premises. Look it. You know what? What's the environment of the creature? What's the movement of the creature and that will influence the design? This whole form follows function, type of thing, right? The form is his shape, his size, everything. What's the function? Moving through the swamp being a little bit scary. That's the function I want from this character, right? So hopefully I've achieved that. If you're looking at him and you're like, yeah, okay, this guy looks like he could be in a swamp. Then success. And I'm hoping you were following along for some of it. But then I hope you kind of just went on your own way. You can put in believes the bark moss water dripping whatever you want. Put it in wherever you want and make a creature of your own. You know, what I would really be happy with is if you send me a picture, that creature I would actually love to see all these creations you guys come up with. So this is not so much homework. Thing of, like, practice. Just practice. No, this is actually I want to see what you're creating. Um, and it would be really awesome if you send it to There's no way I can force us. There's no way I could make you send it to me or anything. I can't flunk you because of it or anything, right? But I think it would be really good for both of us if you kind of have finished it up and sent it my way. Whether private message on Facebook or whatever, It isn't stuff. I just want to see it. I want to see how creative you got with and I want to see, you know, if you took some lessons and some of the textures and all that kind of stuff to heart. Okay, so that's the homework. Finish up your sketch like I did here, and let's see what you got 12. The Werewolf: Okay, guys, we've got a cool unit here in front of us. Um, yeah, this one's a big one. So listen, uh, if you haven't taken a party break yet, now would be the time to do it. Because it's fun. But it's gonna take us a while to get through this. Okay? So what are we looking at here? We're looking at wear wolves. That wacko? Equivocal. Yeah. Where wolves are cool, right. And there's gonna be a few things that I want to get into with them. So let's get cracking. First up is the wolf. Now, I've sketched out three wolf heads here, right? And I think what's good to do is to understand the basic structure that goes behind the wolf head home came. So, you know, we've got this. I'm going to start it from the side here. We've got this kind of was basic circle looking thing, right. And then we've got and a cylinder that comes out from that. OK, it kind of think of it like this, right? So if I was to draw it over here, I could have my middle line circumference and then I have a cylinder on the mouth that juts out to this side. Right? Okay. You can kind of think of it like that. Let's see if you can draw it down below to just to practice it up a little bit. Here's the cylinder or the circle to circumference, right? We're gonna draw what would be the attachment of the muzzle. We can choose how far we wanted to come out, Maybe about like that, and then start to connect the points, right? Do it off to the side. Here again. Um, you know, here's where the muzzle would touch, right? Comes out. One cool thing of note is that you'll notice that's a little bit of an angle here, right? So you want to kind of come in, bring it in like that trip, Okay. And then from straight on, it gets a little less glamorous, but it's still the basic thing. I circumference line down the middle, the muzzle point, and then it comes forward to the box at the front income. And then, like I said, sometimes I have these kind of shape lines that help follow it. Okay, so this is the basic wolf, but that's not what were drawn here. You know, I've got a lesson on wolves in my anatomy unit. Right? But we're doing something different here. We're doing where? Wolves. So where do where wolves differ. Well, in my opinion, it's in the personality. Right. So this looks like a wolf. Yes, of course. Right. But how can we change it into aware Wolf? While one, I think, give it a heavier brow, Give it more personality in the brow. Okay, So if I was to come in here and here's my eye line, I might add in some personality here, right, You know, big, heavy eyebrows or something a little bit more humanoid or something. You know, a little bit of a human look to it with, You know, you can have if you want rounded eyes here and stuff, Right? Okay, so we're kind of going that way. We can have the bit of the brow up here. I think we can still kind of take the shape of what's going on up top here. You know, like maybe make the eyes a little bit smaller or sorry, that years a little bit smaller, depending on what you want to emphasize and stuff. Right. But I like this. Ah, this brow here. This is important in my mind. So we're gonna come down next thing that were coming down looking at, you know, the nose. I think the nose will stay basically the same. You know, we've got this kind of shape that is this kind of a T intersection, kind of looking Think room with a little bit of, ah, under scope or score under there. Um, what I would do is, you know, we're putting personality in here, right? So we can start toe, bring this snout in and, you know, have these folds, right? That kind of stuff. Right. But we want to bring this out to the cheek as well. Okay, so we're starting toe. Do you see how this almost is starting to look a little bit humanlike? You know, we've got this this cheekbone here that maybe wasn't all that prominent in in the dog, right? It's kind of buried under a bunch of for but in the the where, wolf, we want toe key it up a little bit, right? We can still have this for coming off to the side. Right. We'll still have this hair coming off the side and stuff, but we wanna have some kind of a bit of an outline of the cheekbone to give it a bit more human. Look, so you can kind of, you know, run the cheekbone, run the heavy eyebrows and stuff like that, right? Just run with it. We wanna have. And these, uh I don't know, lips, not really jowls, but part of the lips coming off here. And then they can come up into the cheekbones and come this way if this makes sense, and then what kind of zoom in? And, you know, we can either drop the jaw down or even right now, we'll just have it the same as the one up there. We'll have it come down here, come around, give it a little bit of shape, and then give it a little bit of puffiness in here and that can come over into the into the cheeks. Okay, Now you can even flare it more if you want him. That is starting to look a heck of a lot more like aware wolf, right? This looks like a wolf. This looks more like aware. Wolf. We've given it some personality And how did we do that? We added in the brows. All right, we put in, Ah, heavy, more human I humanoid brow into into the mix. Okay, we added that brow, right? What else did we do? We had the cheekbone coming in here, so really making it look a lot more human, right? We can bring this in here. That small little nose. Okay, um, we can still have the normal mouth function, but realized Why don't we link it up and coming to this cheekbone here? Okay. And in the mouth underneath here. And come. Yeah, that looks cool. So then we would just, you know, weaken, bring the head back into here. You know, the keeping inconsistent with how we did that the were wolf in that one. Maybe shrink that years. A little bit toe, You know, big ears. It's sometimes signifies a little bit acuteness and stuff, right? We want to downplay the years and, you know, emphasize either the mouth, the jowls, what we can do if we want. We could even have stuff hanging off the mouth down here. Right? So if you want to come down here, we can have a little bit of chin hair or something like that. We want to emphasize this area. Right? Okay, So what I'm hoping you're doing is I'm gonna drawing this out, and I'm hoping you're you're drawing along with me, right? I'll give you a rough sketch here, toe work with, but yeah, this is what you should be doing, is is working along with me here on leave these sketches down here for you to do it with. So what do you focused on? Focused on the brow, Emphasizing right? Ah. Focused on the cheekbones, emphasizing the mouth, emphasizing and then de emphasizing the ears and stuff. Okay, so that's what I want you to do for these, these wolf's heads is to make them more humanoid. Okay, because that's basically what we're here doing, right? We're trying to capture the essence of the wolf, but not copy wolves. That's a little bit of a difference. Okay. All right, let's move on down to humans. Um, the where wolf is obviously part wolf, part man. Woman. Maybe that would be cool. I don't know if I've seen a lot of where women Where wolf women. Anyways, um, some of the key factors, and I'm gonna start from the side here again is the leg. Now I've seen where wolves drawn with a full human leg, and that's fine. You know, you've got your your thigh here, your knee and stuff. But we also know that if we draw dog's legs, that might given extra emphasis, right? And so the system works Pretty similar here would be the calf slash In he would be the heel , the heel bone. It would come down into the foot, and then the Paul would be here. Okay, so think of it. It comes down here, comes down here, bends down into here. And then there's this Paul down here. And that's the way it would work if we're using the dogleg type of scenario. Okay, So I want you to practice that out down to the knee, down to the heel, spur and then down to the Paul can You could fill it in. How you like working some different angles here? Maybe this kind of 3/4 angle, right? This middle is here. Back to the heel. Spur forward a bit. And here might be the pause. Something along those lines. Okay, So you can try to fill it in once again, you know, Think of the upper leg here, down into the knee, back down because it's going backwards here. Right. So this is slightly going backwards into that hell spur down into what would be the paw. And hopefully, you know, you've already taken a look at my paws, claws, talons. And whose video, Right, So this should be not so unfamiliar. And then you come down here, you got the knee. You're going back into the heel. Spur forward into the paw. Right. So come back into the heel, spur forward into the paw so you can do that again. Right? So what you want to do is and this is you know, it's always good practicing that that simplified skeleton that I've roughed out for you. Right? Okay. So that's what I want you doing is practicing this, you know, weaken draught. The top part here right here is the head. Here's the basic Chevron. Here's the hips, right. We're gonna work on down to the knee, and now I want you to draw in the bent dogleg. Okay, so we've changed the head. We've changed the legs. One extra thing I would say is if you want to. And again, this is personal choice. But you can lengthen the arms a little bit, you know? Have the arms a little bit more. Be steel, right? Have them coming down a little bit longer. Have the hands mawr of a claw type. Right? So this might you could plot the arms and the hands out down here and then figure out how they get there. Right? You could do something like that. If anything, what I would maybe do is keep the upper arm a little shorter. Like the bicep could be almost reasonable, like a normal man's and stuff I get. And then this forearm could be coming in much longer. And with claws coming in and stuff like that right in camp. So, yeah, make the form much bigger, much longer. And then it comes into the claw. Is that cool? So now we're gonna combine it. Let's see. What do I got room on this still No. Okay, So coming down, Maybe I'll use this space here. I'm just gonna kind of rough in something here. Maybe rough in a bit of the torso over top here you'll see. What? I'm kind of getting out in a second. Here. Right here is one shoulder. Maybe. Here's a shoulder going back. Um, this arm could be flailing back a little bit. Uh, put the head somewhere around here with the muzzle somewhere here, and you could see I'm just kind of totally just trying to figure out how to things how things might go. I want to put the hand foreshortened here. So then, you know, if I was toe find the way the elbow would be somewhere there Ah, the hips air behind. So this is gonna come forward into the knee and yeah, things kind of disappear behind that right back into the heel, spur back into the foot, and then the foot comes down there and maybe the Thea other foot might be missing. Okay, so this is a rough one. Why don't I go into seeing how I might finish up the lines just a little bit? Not really finishing, but just fleshing out here here would be, you know, I could come up here. Here's one digit, right. Here's another digit. Another one. Another one. 1234 And I guess underneath I have more of Ah, the opposable thumb or something. Now, it depends on how I want to draw this. I could draw more like a dog. You know, uh, we've talked about pause, and so I could have the the pause themselves retracted into the fingers, if I want. Right. I think that's more dog like. It looks more like a Paul. I could even put in the pads here and stuff of the dogs pads room again. This is just rough. I'm just really sketching things in here, right? I could make it into more of a claw, but it it feels very cat like to me. I don't know. I think I might still play with us a little bit and see where I'm going with him. Okay, so I've got the form coming back here very rough so far into what would be Here's the chest , the shoulders here, right. And then the triceps way back there Don't get so I've kind of got this may be all just outlined. A little bit better for you, so you can kind of make it out right? There we go. That punches it a little bit further forward home. Does that help? Okay. Ah, the main thing next up would be the head. So if I come down, this is the middle of the circumference. Right? So I'm gonna come here, and I'm just gonna kinda let's see, start adding some some brow, right? Huge stress lines and stuff, right income. So the main thing is, like, much like what I said before you condone draw wolf, if you like, and it will look right. You know, there's nothing wrong with drawing a wolf, But what I would rather see is we draw aware wolf. That's slightly different, right? We want this humanoid form, right? So we can have this flare around the nose and these wrinkles and stress, right? Have the eyes coming up under here. Maybe I wanted bring the I up. Oh, that's looking really butchery. Back then. I was just a little bit cool. Okay, so I've got this and then what did I say? I wanted to come underneath, grab some some of the upper flair of the lip, right? It's gonna come up here, and I want some cheekbones, so I could think of a landmark right below the eye to draw the cheekbone in and this will come down into here. I could put a little bit of the spots that will see on a dog. Dogs have much smaller teeth compared to like, I don't want to give it like, uh, teeth like a cat or something. You know, I want it a little bit more scary, but not Fang ish. Not exactly things right? So what I'm trying to do is make teeth without necessarily hoops making fangs. If that makes sense, you know, like I'll have. Canines will have the set of teeth that are supposed to be there. I just still keep it looking like a dog's mouth rather than, um, some type of cats. It's It's really tempting to get into, like, cat like features and stuff. And I want you to try to stay away from that. OK, unless you're making some type of wear tiger or something, then that's cool, too, Right? Okay, so we've got this. It's leading up. The the jaw here is all leading up to these these cheekbones and stuff, right? You can even bring this up more up into the brow, making more human. Um, up top here. What did we do? We've got some for right. Just roughed in. We're gonna have a small little ear. Small little ear can make it a little pokey. And then we can bring it out to the side here and then even out and down, right? We'll bring it out to the side here and then out and down Little bit. Right? See if that makes sense. There we go. Okay, so that's looking kind of cool. Looks like some type of where, wolf. So far, um, we can start to add in, You know, if you know your anatomy and start to add in some of the muscle groups, but you're kind of doing a bit of a hybrid between what would be the muscles on a wolf versus ah, human, right. I would say air for the side of the human part of it. Right. So we've kind of we're just roughing it in at this stage, coming back to here. This would be the shoulder coming in, maybe down into the bicep. And remember, I said I wanted a longer form. So, uh, you know, it can kind of come along this way, but you can have Harold coming off of it. Right? And then the Paul, I'm starting to branch out a little bit here, but you can have the paw coming around this way. See if that makes sense for him. So we've got this Paul coming nice and close up here. I haven't really added for yet, but once again, this, Like I said, this is just kind of doing things rough here is gonna be that front knee coming under and then back here, we said, the lake comes down, it comes into here and comes into what would be the paw. Right. So this is the Paul unit room. It could be curled under a little bit here because he's the kind of lunging. Okay, Yeah, that's looking kind of cool. Um, now, here's the big debate tales. Do we had a tail into it or not? I'm generally no, I'm not a big fan of where Wolf tails, You know, like, if I'm looking at it, okay, where would a comic come off of here? And, you know, come in and stuff and, you know, drawing through, We would really only draught this much or something, You know, um, I don't know I think it almost looks comical as soon as we start to add a tale into it and stuff, right? So it's really up to you if you want to put a tail and, um, I try to avoid them. They're not really my thing. But you know what? It my guess. That depends on how your liking, your character and stuff. And if it if it's fitting into what you want for your your wear wolf design, right? So added tail don't have a tail. I'm saying it's up to you, right? Is that cool? Just adding in the pads here and stuff from cool. Okay, so here's a bit of Ah, rough Where Wolf. Right. And of course, you know, once if you were to go in and start really roughing out the hair, you know, getting the for lines and and stuff like that getting it all bristly, it would start toe, look even more wild, right? It starts to starts to take on this. This feral look rate so depends how clean you want. It depends if you want to put a thorn close flying off of him or something like that. Right? Pants or a tourney, T shirt or cloth. They're flying off and stuff, right? Um, did he just transform, or is this ah, guy that's been here in this wolf form for a while or something, Right. Like I said, it's kind up to you if you want to put claws and our actual, like nails on the claws and stuff. If you were to do it, I wouldn't do it much like a cat. You know, Just kind of put them in just a little bit. Something like that. Right? Because canines do have nails, right? They are there. They're sticking out. Um, I just don't like to see them Huge retraction and and and pro traction, right? Like I like to see them just kind of either just roughed in as a bit of a darkness or, you know, smaller ones here and stuff. Right? So let's go with the smaller ones. I think that looks pretty cool. Okay. We forgetting anything on this guy? No, I think he looks kind of cool, right. You can have something but a movement around him, right? Cool. Okay. So, to recap, we want to learn how to draw wolves, right? We want the basic construct of the wolf. We want to be able to draw that that simplified head right, the circle, the center line, the muzzle area, and then where the muzzle ends up and then start to draw it in. Right, keeping in mind that the muzzle is actually slanted back down, back down this way. And then once we start to transform it into, ah, where wolf, we add the brow. All right, we add, um, cheekbones. We can add a little bit more detail around the mouth. You know, more personality. You could try to throw a smirk into it. Okay, And then we make the ears smaller. Cool. That's the Bringing the wolf into the wear wolf right now, bringing the human into the werewolf. While um, like I said, there's a few different things. I think this gets into the design choices and stuff, right? You can have the dog lake coming back into the hell spurred down and to hear right. Okay, The dogleg is one. A tale. It's another one. And see, every time I draw this tale a kind of crack up, right? I don't know if I I could really keep drawing aware wolf with the tail in there. I'm sure somebody's done it. That looks really cool and stuff like that, but for some reason, it doesn't. It always looks funny to me. I don't know what it is. And then maybe just lengthening the arms a little bit, you know, this is Ah, I would maybe widen it up, put a bit more of a hulking physique to it, and then widen these arms, you know, have have the hands come the risk break way below the crotch line and have enlarged hands and stuff, right? And then we put it together and have aware wolf lunging at you. Right? I think he looks pretty cool. Um, the one thing like I said before, don't get into too many catlike details. Still, keep it the wolf. Keep that longer. Muzzle. Yes. You can have a tongue in here or something. You could have teeth and stuff I got, but try not toe, You know, try to get away from the cat features. Make sure you protrude this the the snout a lot and stuff I got. Make sure this comes forward. Um, really make sure you're feeling that that depth of coming forward off off of the muzzle on stuff, okay? And then adding in the details off the cheeks and all that kind of stuff. Don't forget the depth in the eyes, right? That would be a big key thing here. Cool. Okay, guys, I hope this was a cool unit for you. I hope that you enjoyed, uh, the wear wolf. And I hope that you're enjoying, You know, this whole monsters, legends, weird creatures, type of unit for you. And course I'm having fun with it because I get pushed proportions and I get to combine some of my passion for anatomy and cool little animals. Okay, I hope you're doing your homework because it's important. You know, make sure that you're drawing this sheet out on your own and coming up with some of your own stretched and pulled proportional creatures, right? Because that's what it's all about. Guys keep practicing and keep at it. 13. Dragons: home. Yeah. Hey, uh, just doing a bit of research here, right? I'm guessing you know what this unit's gonna be about, right? It's gonna be about dragons. Yeah, uh, and I was scoping out the mother of dragons. Okay, So when it comes to Dragon's, um, you know, it's interesting because we've got dragons from all different corners of the earth, right? Like different cultures have different viewpoints of dragons and stuff. Um, the Oriental, like the the Chinese dragon. I live in Hong Kong, and so I see the dragon dances and stuff like that, and lion dance is right. And it's got this monstrous head and in the long, flowy tail, like a snake, almost right, flying through the air with long whiskers and everything, Uh, the European type Dragon ISMM, or like a giant monitor lizard or something with a massive head and big old wings on the back. Not to be confused with a wide grin. Right where dragons have four legs and wings. The white friends have two legs, and then the fun front feet become wings or whatever and stuff. So we're gonna focus on mostly the western approach to the dragon. Um I'm gonna show you how I approach it, taking some structures of animals that we can recognize and that we know about and then moving them into something a little bit more fancy. Right? Okay, so let's get to it. And I guess I'll put on some theme music. Okay, so now that we're getting into it here, weaken. See, I've kind of gathered together some references, and you're kind of looking at these in your kind of wondering what is Ed thinking? You know, why did he choose a mountain lion? Um, listen, like, I think we could have went with a large lizard or something for the base body. I think that would work fine. Um, but the movements of the mountain lion, the flexibility, the stances and stuff are a lot more in line with what I'm thinking off for doing a dragon . Okay, so ah, bear with me. And I really think this will make a lot more sense as we start to get into it. So let's see if we could find some underlying structure in this mountain lion. We'll kind of look here and here is gonna be the rib cage. And here is gonna be the hip. We're gonna have the backbone coming over over here. Um, up here is the scapula, and this is an important part. You could think of it almost like a trying or where this first part leads into. OK, and here's the hipbone. Okay, so this part leads down to here back to the heel, spur down to the what would be the ankle and then the pot. Okay, lets see if we could do it from the other side here, down to knee down to the heel, spur down to the ankle and then the Paul. Okay, this is looking pretty good so far, um, comes down to here down to the heel, spur down to the ankle and then the paw, and it's most likely hidden. But we've got something similar happening on this side here. Okay? And then we've got what would be We're gonna deal with the head later. So what I want you to do as we're going through this because this is a bit of a long unit. Um, what I want you to do is below here. See if you can plot it in and work the same stance in Okay, We're gonna have the tail coming off the back here. Okay, so, you know, put in this the scapula up here. That's where the joints are gonna come out of right and then start to plot in the legs and stuff. Okay? Do a little bit of draw through if you want something like this. Okay, here we go. And, um, ankle, this one coming down, coming down, ankle. Here we go. And it comes up into what will be like that. Now, when we start doing the actual dragon, we might expand on some some sections. You mean like, we might end up thickening up various points here, but I want this underlying part to be, um, the structure. OK, so we're using the structure from this mountain line. Let's see if we go down and see if we can find it here. It's kind of stretched out so you can picture a dragon flying type of thing. The tail going off into the distance, right, coming down into leg. The heel spur, uh, the ankle and in the foot. Right knee, heel, spur, ankle. And then we could put the foot back. There seemed everything here is the scapula. I want to really emphasize the scapula because this is where we're gonna end up putting the wings when camp. So down to here, here, here, in the Paul. Right. We could draw through, and it's gonna come over here, and then we'll have the head of it all and stuff. Right, So the wings will eventually, we'll get to that. We're gonna draw them out of there. So same thing. I want you to see if you can draw drawing on this line down below. Okay, Cool. Moving on up. Ah, maybe I want to draw this beside. Sure. Where are the structures? We've obviously got ahead. Structure here, Like I said, and we're gonna talk about this later. This could be the dragons face. You know, depending on the size, how we want to do ahead, it could be much larger. Ah, we've got a rib cage sitting here and we've got hips sitting back here. We've got legs that come up from the hip, up to the knee, up from the hip to the knee, back down to the heel, spur down, and then maybe into a foot somewhere there. Back down to the hell spurred down into, ah, foot. And then it could be there or something like that, depending on how we wanted it positioned. Right. Here's the scapula up here. So where the front legs come from to the elbow down to the I guess wrist right. And then down into the second part for that right now, heres the middle circumference of these guys. Let's see if we can draw beside. And I think you could kind of imagine a dragon, you know, with its as the tail comes off in a wraps around and stuff like that. And then the dragon's head is here, coming forward or something. Right? Then the wings coming off the scapula. You know, here's the scapula. So we're gonna come down with the with the skin, the front legs, and then the wings will come up. Right? Okay. So I think you're kind of getting what I'm getting at here about how to structure everything. Um, how to take this mountain lion and make it into something that could resemble what you're hunting for, right? It's good to, um, used things in nature because they're they're functional, right? And a lot of times we we kind of when we're creating fantasy animals, we forget a bit of that functionality right down to here and down into the poor, down to the elbow. Hope to hear and out into the pot so you could have a dragon sitting here with a big, massive head, a massive snout. And we're going to get into this later, right? And you know, it's sitting here with its wings folded and stuff right on Kim. So this is what I want you doing is trying to design this type of thing. No, listen, there's other ways to design a dragon, like I remember growing up, and I think Puff the Magic dragon had a huge base. Ah, small upper body. And then, um, you know, came upto some type of had type of thing and the base, you know what had these It still had the the dog or the, you know, the type of dog bending legs type of thing, but its upper arms worse, quite small. And then it had these little wings and stuff, So you can, you know, if you want. If you want your dragon to be this kind of shape, that's cool to write like, um, it's way more out in the fantasy end of it. I don't think we would look at this and say, Oh, these little wings could make this dragon fly. Right? But so what? You know, if that's your dragon and dragons don't aren't real, right? So if you want to say, Well, it was Puff the Magic Dragon. There's some magic going on. Right? So you put some little sparkles around there, and all of a sudden it makes sense because the magic makes him fly. Right. Okay, So this is what I want you doing in this section is looking for the basic shapes, you know, and seeing how you might start to line things in. Right. Where? Where are the where the feet, You know, where is everything? Kind of crunched up in everything. Right? Um, this one, Maybe he comes back. This one came down and then forward and then into the paw. This one came back and then down and then into the Paul, right? And then this head, This could be a awesome dragon's head Coming forward looking, you know, over its treasure or something like that or over mountains. Cliff, with these big, huge wings going on. Okay, so that's what I want you doing, is is roughing at once again, down below. See if you can fill in all the missing details of it and stuff, right? And that is the basic body structure of what I want to go for. You're going to see how it will really change once we start to add in the head and the wings and everything, right? But for now, we're gonna have the rib cage, the hips looking where the scapular like, where the joints come out of, and then the head, right cam. And then you're going to start to plot things in and stuff, right? Okay. So if you need to take a break right now, I would suggest rewind and really take time to fill in all these blank spots and stuff like that. If you're drawing over my stuff cool, you know, trace over it and then take the next empty sheet and trace over the rough pictures that reference pictures that have got and then draw dopey side and stuff. You know, this is what I want you doing. I want you really like practice. This body type And if you really want to, you can start to push the body. Type in a certain direction if you want bigger hips. Cool if you want. You know, bigger shoulder blades. Cool, but don't wear about the head yet. We're still moving onto that. I told you, this is like the mother of dragons unit. It's a big unit. Okay, next one, we're moving onto his wings. And what I've chosen here are bat wings. So how I designed dragons usually is all all set the scapula. Whether I use it as a trying or the base, right, it's gonna come out of the scapula, hit one bend, imagine the elbow, and then it's gonna come up. OK, so the way I'm doing is one bend, and then it comes up, and this is actually the hand the bats hand from here, you can splay out the different kind of, uh, appendages fingers. Actually, when it comes to a battery, you can splay them forward. Uh, it looks cool for a wing. And then you could also do it off off of the the elbow joint, right? And then start toe pull them together, depending on how you want to design it, right? Is it in tatters or anything? And it can come back into the body. Okay, but that's basically it. Um, you're gonna wanna practices in its its various forms, you know, like tryto shifted, shifted around a little bit, you know, have it splay up like this, that type of thing, right? Have it more open and see if that makes sense to you. Okay, um, you can come down and see it, you know, from different angles, right? It will come to the elbow to the hand and then up. And then you can have fun with the different lengths of each finger. I'm doing little air quotations on those fingers and stuff, right? And see how that works for you. You can even fold it on the body. If here's the mass of the rib cage, you can bring it forward to the elbow, bring it back towards the hand and then splay the fingers going off of that. If if that's the way you want to do it, right, Um actually, I'm gonna correct us just a little bit you when you're splitting the fingers, they're going to kind of come in tight on the inside, right? And then the elbow. Two fingers will come in here. So then you'll have this wrapping all inside here. Does that make sense? So the the wing itself will kind of look like one unit, and it's just kind of wrapped between these fingers and fold it in. So that's what I want you doing for inside of the If the wing folds up against the body or the torso or anything, right? Um, now, I told bat wings, and if you want to choose something else, some other wing to model it after, that's cool to just the reason that I'm trying Teoh pull you into a functionality, it because it just convinces the I a lot better. When we're looking at these pictures and stuff, right, we'll be looking at and say, Yeah, okay, I get that. You know, that reminds me of something they can't quite put the finger on it, you know, like I'm sure when they're looking at your drag and they're not going to say those look like bat wings because they'll be different enough for him. Um, but it will be familiar enough that people say, Yeah, I totally get that. The other thing you could kind of do with the fingers kind of thing is put these little hooks like the finger nails. If you want to put that on some of some of the wings, that's your call. You could even have, like, little spikes and stuff like that, right? And that's kind of where we're gonna move into the next one. We're gonna talk about heads and structures of the Dragon. So came. So here we've got in Iguanas Head. He's a handsome little devil. Um, I think for dragons Will will use this basic structure and Kim. So that means it's comes forward into a small cone and comes back. I think, though what I would do is maybe flair the nostril section a little bit more, you know, have this front section and the mouth the lips can be a little bit more protruded. Maybe drop the jaw, the chin underneath. And then I like the's big jowls so you could have the jowl of some sort going in there. The I could be maybe just a little little smaller with with a bigger brow over it, you know, with some give it some some weight to it. So you can you know, you can throw emotion into that brow and stuff, right? And then it can come into the back of right. So let's see if we draw this. Do we want to go above or below? Let's go above. I'm kind of running out a rough room here for you. Okay, so we've got this. We pull it forward, basically. Like that. Right? Well, we'll run a line here just so we can get the section for the the I and stuff. Right. So we'll have this. Something's underneath. It will have. The nostril will have the nostril. Flare will have the mouth, depending on how we want to design it. Right. We could have lips. We could have it come down into the chin. We could have bumps over here. We can start to have ridges or little horns going into the back. And this. And then the main point that I want to see is the jowl. Okay, so on some of these, you might see some hanging flat below. I actually think that looks pretty cool, because it gives ah, realistic reptilian vibe to it. Right. Okay, So you want to have that kind of hang jowl look, and then you can put spikes on the back. You know, here is gonna be the shoulder blade and stuff. So you want to start toe work in where the wings gonna come off and everything like that, right? You could see how powerful this is. Already starting to look right. It looks like a cross between this iguana and Godzilla or something along those lines. So looking mighty cool. Now, once we open it up, there are gonna be some differences. I still want to have this main section of the head, OK, and we're gonna come forward. Imagine it like this, you know, with the front of it. So we're opening up. People make this mistake when? When they're drawing jaws, a lot of times, what they'll do is they'll draw jaw and, you know, here's the jaw, and then when it opens up, this bottom section just drops down. And so it becomes this elongated like, Here's the top. Here's the bottom and it just drops, right? It doesn't. It opens up like this because there's a pivot point here in the jaw. I think what we can do here is, you know, add more to the bottom of the jaw. Okay. To the chin and everything. Give it some depth. And if we're gonna round out inside, we could. I love this. This meaty tendon tissue that's going on here we can have here. We're gonna have the nostrils flaring up, right? See if I zoom in here a little bit for you. Okay, so we got the nostrils flaring up the meaty mouth. But then, of course, what we can put in is teeth so we can draw these teeth in. You know, depending on how you wanna have it, you just realize that there's you know what? We're looking at the inside of the mouth here, right? So give it a little bit of depth to it, right? That you can do your rows of teeth along this side and then rows of teeth along the backside and stuff. How you want to do your dragon's teeth is up to you. You know, I've seen something else that sometimes is almost like a bit of a nozzle inside here, shooting up from inside of the dragon's mouth almost as if it was hose or something. like that. And so that can be like where the fire is produced out of and stuff, right? If you've got a fire breather on you, um, again, that's a design feature. And I think that adds, ah, element of realism to it. So I would go with that. The other thing that I'm gonna add here that I think is pretty cool is starting to look at all the details of texture. You know, we've got thes these, uh, different. We've got almost these. Um, they look like stones, right? But they're actually bumps of armor and everything, right? So we can line the mouth if we want with them and stuff, right? It almost looks like stonework and stuff. Tile work. Okay, you can go into small detail into the scales and everything, right? And this is where ah, it's really a personal choice of how much time you have. You know, we've got this big job all here, right? And it comes down, and so do we want to, You know, maybe I'll follow my drawing here. Do you want to spend the time to draw the lips? Yeah, I think that be worth it. Do we want to draw individual little scales below that are kind of making up the the chin and stuff. Yeah, that might be worth a to it. Kind of looks pretty cool. Right. Um, for the sake of this video, I think that's probably where I would end it a little bit and stuff. You know, I would start toe rough the's in. Uh, I also mentioned, like, drawing these kind of jowls as they come down below. Uh, maybe you could use a dot pattern to kind of render that rendered some of the texture and stuff again. If you're gonna use the dot pattern than kind of realize that you're gonna go with the flow off whatever tissue is, it is and stuff, right. Try to run the flow of the tissue and stuff. Okay, So you condone, you know, rough in some some bigger things here and then also some of the smaller ones. You could also, if you wanted to, like, do it with a line texture. You know what? Start roughing in this way, and then the other circumference cutting across it and stuff I got I think that's that's a pretty valid way. It kind of follows what the intention of this is to look like and stuff for him. So that's one thing to do. Like I said, I would focus on the tendons inside this mouth Haliti long gates and stuff your choice on the teeth. Uh, you know, do you want big kind of massive teeth in here? Do you want sharp rows upon rows inside? You know, if you want a reference, a shark type of thing, I would say, basically, the to I teeth like the two front ones is probably the ones I would focus on almost looking like a snake. But then, you know, you push too hard and it kind of looks like a snake crime. And like I said, we could have this jutting thing coming out here where the the fire is shot out of him and it's coming down in here. And then the teeth, this second row of teeth would be coming out of the gums on this other side room. It's already we can see some of the cool details. Ah, we talked about putting in a bit bigger of a brow here, right? And that allows you to show more emotion in in the eyes and stuff you can raise about Brow Laurette and stuff, right? You can add armor into it. Uh, I think it's it's worth doing because dragons generally we don't think of them in mythology is just animals, you know? They're they're intelligent. They're senti entry. Like they have a lot of thought process to them sometimes greed, whatever and stuff. Right. So you want to be able to show some emotion when you're drawing your dragon and stuff? Here we go. Cool. Now spikes on the back. I don't know. I'm kind of, ah, mixed emotion on this. If you want him put him. If not, that's cool too. You know, I think these ones happen a look pretty cool. You can Norrell them a little bit, you know, Put them more like a steak. A sores type of stuff. Right? Um, you can look at a lot of drawings of how people have rendered dinosaurs to see if that's the look you're looking for for your dragon and stuff, right? Um, it's really up to you. This is you know, I'm kind of giving you a lot of ideas for bull parking. This stuff, right? but it's up to you How you want to implement it. Do you know? You pick and choose and say, Well, I like this part. I don't like that part, right. I love kind of the Godzilla Look, but I wanted leaner and lank here, you know, like, um maybe it could be more animated looking, more childish looking, like how to train your dragon or something a little bit more comical, Right? So you can take whatever body parts you want and kind of cut and paste and see, the only thing I would add is like, I like how this, you know, you can see them started to angle in a certain way. And then as the back went this way, you know, they spikes kind of went in that direction and stuff like that. So here's the construction. This is the rough construction of what I want to see. Ah, you coming up with a dragon, right? Look at the basic body form. Look at how we can start to manipulate it, right? We're gonna adjust the head size and those types of things. The look of the head, the details of the head we're gonna do wings as well, right? And then we start to look at the scaling effect. Cool. Are you with me so far? Okay, so now we're gonna get into it. Um, you know, you can see from the sketch of kind of pieced together a few off all everything that we've learned, right? I've I've got the structure, the base structure down right now off the mountain lion. Right. Um, I've got the head kind of roughed in of my what might be in iguana. And then I've got these big old bat wings that are, you know, fleed spread way up. So let's see if how I can make this into the a dragon. And you know what? I'm going to send you this rough one, too, so you can do this exact same thing. Start adding in the details and stuff, right? Let's start with the face. Okay. So, like I said, I kind of wanted Ah, bigger nostril. Right. So what? What I want to do is have this type of thing with the lips, you know, the scales on the lips and stuff like that, right? And then different textures and patterns leading up to this and then the bump. Maybe here and then What did I say? I wanted and I hear right. But I want the brow. So I want the brow to come up over top here. You know what? I'm gonna do the spike things and just start start the ridge of spikes. Kind of starting right about here, okay? With the I, it's gonna be here. Maybe it'll peel in here and then, you know, come forward. And under the I usually there's there could be a lot of texture, right, that type of thing. And so I'm going to do an assortment of different textures on this to see what works, right? You condone kind of grab on toe whatever you want. You know, for you, I think time isn't really that that big of an issue. You know, you can do it as quickly or as slowly as you want for me. I'd kind of, you know, I want to keep these lessons at a certain reasonable length and stuff, right? So I don't want it dragging out to too much or anything, right? Okay. So I'm kind of going back into the mouth here and stuff, right? Um, coming back. I wanna have this jaw. Like I said, I want to have this big Jowell coming down here, right? This kind of thing. And again, I'm just kind of roughing and where I think some of the patterns might be or something, Right? Okay, Something like that. I said, I'm gonna have a close mouth here, but ah, it'll work. I'm gonna put the pattern in for this. And then remember I said I wanted to have the this kind of chin that drops down right? Here we go. They were kind of just roughing the pattern in. Okay, so that's ah, mean, looking ahead so far, right? What do we want to do next? I think adding in the arms up here might be a good way to go. So we have this scapula here, but we have to show some some mass around the shoulder, right, So it can kind of go like this, and then we'll have this this kind of bump that's coming up here and, of course, weaken. Add in the rendering later and stuff, but coming down to So this was imagine this is a shoulder blade comes down to the knee, comes down to, um, what might be, like an ankle slash heel spur and then comes down into the the claw. So with the claw, why don't we do this? It's hanging over this mountain ledge. I'm going to just kind of rough in the the nails of it right now, and then start toe add in where, You know, some of the depth might be on them and stuff right there. They're coming over and coming across like this, You can add the details in like that, right? And so I'm gonna have the rock surface kind of coming like this, You know, Maybe he's he's grabbing into it a little bit or something like that. Right? Here we go. That works. And if you want, you can put, you know, a bit of texture on that and stuff. Right. Cool. Um, coming up from the shoulder blades were gonna maybe put a bump in the neck and then come up to here. And this is where we can start to add in some of these spikes. Now, weaken. Change the variety of it if we want, right, depending on how we want to do it. Um, What? I'm done here is I've kind of roughed in that the wings air coming off the shoulder blade. So let's see if I can bounce us out a little bit. What I want to do is actually have them on the inside of the shoulder blade, not out on the arm or anything. So imagine that I kind of drew through that right? And then I'm gonna have the back flowing, and then the wing is coming out. Maybe I've got a bit lower here and let's see if I can do it this way. The wing's gonna come out here and there's gonna be this kind of joint here, right? And I'm gonna just rough in the joint. And remember, I said, maybe we can put a nail on that like a claw type of thing, right? And then you can kind of sprout up to about here. This is really rough right now, right? Cool. And if I want to, I can have a little spike there as well, right? But the body itself is gonna be behind that. And so this one's coming under this. Wanna come under? And then I would come tuck into the body. We can think of it like that, right? So the body will then becoming behind here right now for the underside of it. Um, depending on how meaty we want her dragon to be, right? Like I'm thinking something along these lines, right? Pretty powerful. And like I said, I actually want some type of hanging thing from the neck here and then on the underside. What I usually like to see on dragons is that that's softer, almost snake belly scaling that goes underneath a lot of reptiles and stuff, right? You can, depending on how much detail you want to put into that. You know, you're welcome to put more whatever, right. And like I said, you know, you can add in different textures and everything, right? To try to give the look you want. Um, I want to keep hustling along here because I don't want this to take crazy amounts of time . I want to finish this whole dragon for us. For him looking good. So far, right? We can draw through on the other side, bring it down, and maybe, you know, just will show one claw something like that. And, you know, depending on how we want the dragon. We can have kind of loose skin in some areas, you know, there's there could be some loose skin here and stuff like that. Right in the creases. There can be a little bit of loose skin, and so you can kind of pattern, you know, draw some patterns in that way and stuff like that. Right? Okay. So what do you figure? We're about half done right now, right? We want to come up here and draw the the other side of of the wing. Bring it up, bring it back down. And of course, I would do this a little bit cleaner, all right? But right now, doesn't really matter that much. Have this claw type thing, have little spike here. And then, you know what I can decide on these wings is, you know, something like that. And if I want to, I can add a little bit of tear in. You know, they don't always have to be perfect. You know, they've dragons lived a life, right? So there's gonna be a little bit of scar, you know, there could be some veins going through it in that type of thing. Right? Okay, just to separate the wings. This is the one in the foreground. There we go. Okay. And you know, if you want to, you could put little spikes on the ends of these If you want. Depending on the look you're going for. What do you think? Yeah, that's looking pretty cool so far. Um, you know, if you want to be consistent, what you could do is like along the back. You can put a certain pattern, right, So it would remain kind of unified as you go along the creature. And then, as as it moves down and the pattern kind of loosens up a little bit, right, And then it gets more flexible into the joints where becomes, you know, this this looser pattern and everything. Right? Okay, so you know it. Like I said, it depends. Do you want to draw every single minute scale? Do you want to You know, how much time do you have for your piece, right. Do you want to be doing all that? If so awesome. You know I don't have time. I don't want to do the time lapse thing for you guys. I want you to see the real time as I as I move through this and stuff, right. Um, but if you want to do it, go for it. I think that'd be awesome. I'd love to see what you're doing with it and stuff. I got to see what you came up with. Okay. Looking good. So far. Right? The hind quarters. Let's see, We've got this big section of the leg here. That kind of comes and it comes from the belly. Here it comes into this knee. Do I want this is the Yeah. Why don't I do this? This is the leg that's closest to us, and it's gonna come down into here, and then it's gonna grip. I'm gonna have, like, maybe 123 And I'm gonna get a little bit more detailed in here and start to come in. Do these claws really add them gripping in, right. And then the knuckles come out of that, giving it some some weight to it, right? As they come back up into this thing. Cool. And then this mountain part comes here. You know, there's rocks everywhere, there's rubble, and then this other leg is gonna Well, first when I do the belly before I start doing that other leg. Um, do I want this guy to have a hanging belly? I think midline. All right. And so you want to make sure that this leg is kind of attached to something, right? There we go. Now, bringing this one down over this one up and down, and we can rough in the lake back there, Right, as it's coming from this side. And of course, you know, if you want to, you can start to add rock scenes. You know what things that'll make the scene a little bit more convincing. A little bit of set dressing and stuff like that. Right? Um, depending, you know how much you want to get into this. The scene or anything, right? Cool. Looking pretty cool. So far, I got to say, though I think the leg is looking a little wimpy now that I'm looking at it backed out like that. I think I wanna add some some beef to it. Yeah, I'm not loving how this totally looks. Let's see if I can beef it up just a little bit there. Okay, so it's coming off a here, and then it comes back into here and then, well, I'm kind of losing myself in the wing a little bit here. 14. Chinese Dragon tattoo: Hey, what's up, guys? Ed here with another how to draw creatures unit. But this one's a bit of a bonus one in this one. I'm going to tackle something different. I'm gonna tackle Chinese dragons. Um, yeah, I know. It's Ah, you're sitting here. You're staring at this picture of Olivia Munn. And you're like, What's this dude talking about? Well, how this came about was I was gonna a friend of mine's getting a tattoo on her shoulder and stuff, and we were talking. And so I thought, Yeah, this might be cool. Um, designed something for her and share with you guys, right? So a bit of a bonus even to hear him. So we're gonna approach it from a couple of different vantage points here, one with the creature design, but to with uninterested canvas in mind. Right. I'm working with a body here, and so it's not a flat surface, and we're going to see how that rules a little bit. I think that, um, yeah. Either way. Like I said, I thought that you guys might find this, um interesting. Different, something something. And so why not? Right? Uh, yeah. All right. Let's get rolling with it. So I'm looking at the shoulder here, and this is gonna be my space. I've got this shoulder slash part of the arm of part of the canvas, right? And then it's gonna extend into the back. Um, so I've got these kind of two blocks here. The back, Actually, I might carried underneath a little bit on the shoulder. And you know what kind of wraps around? Right. So, like I said before, these aren't flat surface is right. These are forms three D forms, right? And so I got to keep that in mind when I'm designing this off. How? I'm gonna basically keep that in mind. Right? Okay. So when we're talking about Chinese dragons were talking about the real simplified form here with a little head and a long tail. Ah, hip joint may be a shoulder joined some funky little legs coming off off from the back in the front, right? I don't know if you guys have ever heard of a nem foma, but basically kind of like a snake with feet, right? I used to have one as a kid. Anyways, that's what we're looking for for the creature design is this kind of long snake like Flying Dragon. We'll get into more details later. The funny thing is, they don't really have wings, but they're always flying. Right. Um but, you know, that's mythological creatures for you. So it's all good gay. So I'm looking at Ah, kind of. I wanna have the centerpiece, the main focus right here in the middle of the shoulder. And that's gonna be the head. That's where I want, you know, the everybody to pay attention to. Right. And so how am I gonna wrap this? The rest of body around here? I'm trying to think of, you know, what direction should a rap that it'll coil and then end up? I wanted to end up somewhere around the boob there or something, you know, just in the back there. So I'm going to kind of pull it around, see if I can pull it down. It's gonna wrap around the shoulder kind of over on, Let's see well, twisted up a little bit and come down. And like I said, it will end up somewhere around the boob down there, right? I don't know. You know, this is kind of her choice. how much she wants it to go on to her side there, Anything like that. But that's the design. I'm rolling with room. Um, yeah. Okay. So where am I gonna put these? The front feet? I don't know. I kind of like, Okay, let may be better to start with the back feet here. I try to figure out where they're going to go, right. Um, I kind of think of the hip. Should go around here and that way. You know, it's kind of a nice little placement for for the feedback here on the back room and looking at the spacing and where the head is. I'd kind of like to see the front feet. Yeah, I think the shoulder huge air quotations, air prime can kind of go around here. Um, a little. Not too sure where I'm gonna put the feet. I don't like how this one foot is falling underneath the the head there. I don't know. I might have to play with us a little bit later and stuff I got. You know, I'm just kind of roughing and where I think things should be right now. But I'm thinking, Yeah, there might be some adjustment. Okay, So what I'm gonna do is kind of carry this canvas over and draw out thes kind of rough spaces of where I'm gonna be playing it. Right? Um, just so I can kind of keep it in reference where I had things plotted, You know, this head kind of in this middle shoulder section, right? Gonna rough it in there, carry the back along its gonna wind all the way over the shoulder kind of wind down the back and then finished down somewhere. I guess that's somewhere towards the rib cage. Slash boob area. Right camp. So, yes, we're talking about We're gonna be getting into Chinese dragons. I know this is going on for a while, but I think it's interesting dealing with not flat canvas, right? And how I'm gonna play that l trim gay. So I'm plotting in once again where I thought the claws on shoulder should go. Um, yeah, I think I'm gonna play with us. I'm gonna tweak it a little bit later. I don't know if I love it right now and stuff, right, but, uh, the overall composition is what I'm diggin. I like how it's laid out. I like how the focus is in the shoulder there and everything like that. And so, like I said, this is a little bit of a different creature video for you. We are going to get into the details of the creature, But for right now, uh, often l I've been focusing a lot on the composition. Okay, So on these guys, I really like toe start with head. I think the head to me is a big centerpiece, right? I think it's it's important. It's a huge focus for them. What I'm doing is kind of drawing in a bit of a muzzle right now. These Chinese dragons air really interesting drawing in the brow, coming in here, they almost look lion like in the face at certain points and stuff I got right. So I'm gonna draw the ridge of this muscle here, come down, draw the lower jaw, and you can see I'm obviously just kind of sketching things in here. It's really loose, but the lips in there but the chin down below, just keeping it loose, keeping some of the form where I wanted to be, making sure it's, you know, somewhat centered and stuff. I get somewhat filling out the space that I want, um, taking form of where I see some of these muscles lying and stuff I get. I'd like to see some. There's some bigger ridges I think that I can play with on the on the scalp a little bit, right. And then it's gonna come into almost kind of these mounds for horns. Right now, these guys are really interesting when it comes to their horns that you can draw like just a simplified unicorn horn or something like that. But I kind of like how a lot of them have this kind of nature looking horn that almost looks like branch leave. Their branch branch is rather right. So I think that's we're gonna play with that and maybe had some detail into it later. Gonna rough in the eye here and stuff. And again, this is just applauding it all in scene where it all goes from, Um maybe put in the fort tongue. I don't know how visible it'll be later, but I want to have it there just in case, right, some rough and for teeth just so I can get the ridge of where they're at. Cool. Okay, Now, I don't know if this looking anything like anything to you, but it's starting to for me. Okay, Um, we're gonna put in these cool little whiskers, right? I cannot, like toe have them nice and flowing and sweeping and stuff. I got very magical looking whisker. I would guess it's a whisker. Yeah, let's go with that. Uh, and yeah, I might tweak it a little bit and stuff like that, but right now I want to flesh out this skull a little bit more. You know, I kind of had roughed in, and I don't think I was very balanced withdrawing it in here. There we go. Gonna rough the chin and a little bit more. Flesh it out a little bit. Cool. Yeah, I think that's the skull. Now, when we're bringing the body back, it's important, You know that we keep a lot of form within and stuff I got whenever we're following this. Kind of What is it, like snakelike pattern or something like that? I think that what we can do here it is. Yeah. What I like to do is use a coil method and maybe you've seen this before, right? If you haven't use it, it's fun. You can just use this coil method toe kind of give form and shape as your as your going around. Like I said, I've got it already plotted out that general line. Right? But this coil method gives me kind of a nice, you know. Yeah, You'll see once we really get into it, it not only gives form and substance to this, uh, this kind of snakelike pattern and stuff I get to a rope tow, whatever it is. But as you as you go around, it'll give you the edges. You can taper it often, too. Um, you know, as we get to towards the end of the tail here kind of thing, and so this will help me a lot. Going forward to try to find my form right. I think it's really important to defined. Oh, yeah. I want to bring that a little bit. I want to bring it out past that coil past the body. Make sure it looks a little bit, um, stand out of shrimp gate. I'm kind of following trying to find where the I'm gonna call it. The center line, but it's not. It's actually like Imagine the back ridge or something like that. And here's the underbelly. So this is gonna fold under these kind of rib type things. Do you mean like, thes? And this is where the coiling helps a lot. Because if I'm gonna be rolling this and imagining that I'm underneath it, I get toe Follow that coil the floor, right, roughing in the shoulders. Here. I'm still not 100% on them, but, you know, more focused on the form right now, sticking with the body, the underbelly here, working on the coils and stuff I got bringing this body all the way around. Here we go. So I'm gonna work that under part, and I want him twisting and turning. It's not that he's, you know, it's it's all gonna be straight as it looks at you the whole way. I wanted t be able to see that, You know, I see the top of them. I see the bottom of him and it switches and twists and turns, right, So you're going to see how I'm kind of roughing in the top and then that center line along the top. It's going to shift a few times and stuff like that. So I'm kind of following where I would like that center line, maybe roughing in the hip joints a little bit and stuff. Right? Um, following that, our niece. And now you're seeing, like, how awesome these coils are, how they really help the flow and keeping yourself organizing to where you gonna put things , right? Um, that underbelly curl coil type of thing, right? You can see it flowing underneath here. It kind of is going to disappear as the top portion kicks over a little bit along the top. There. That's what I want. Perfect. Well, I don't know about perfect, but progress. Sometimes who here create creating characters and stuff? It's perfection isn't always there, right? Sometimes you're just looking for progress and stuff, right? So I want a rough in a little bit more on this head. I wanted to stand out a little bit more because I feel like it's getting lost in my sketch here. Just so for my own, I I can kind of make sure it's punching forward the way I want it to and stuff right, unkempt. All right, So where should we had next? I'm gonna kind of rough in the claws. Do I want them here? They could maybe be gripping something, right? Yeah. Okay. We'll see. We'll see. I'm kind of you know, I've been kind of waving back and forth on this where I want thes, uh, and how I want these claws, right? This wouldn't be that bad if they're kind of wrapping around the the arm a little bit, you know, mean gripping onto it a little bit, right? I think that could look kind of cool. So I'm gonna go back here, start finishing off the body a little bit, not finishing, but working on the main trunk. Right? Has it starts to taper off here and now I'm gonna kind of I like what I want to do is kind of add these kind of wavy ridges to that centre back line, right? Originally, I kind of wasn't sure about what the's would look like. I've played with him a little bit, and I'm starting to get into really loose cloud vibe. I had talked to the person that I'm designing this foreign stuff, and I kind of gave her the elements. You know, I said, do you want When I was looking at these dragons, they seem to focus on clouds, water or fire and stuff. Right? And she seemed divide with the clouds thing. Ah, lot more. So I'm gonna try to incorporate that not only into the peace, but into the creature design as well. Right. Okay, So we're gonna taper off this tale and than the tales kind of have this long flowing peace to them. Okay, so this underbelly is coming through here, but I want to kind of have it disappear underneath. Right. So I'm gonna keep rolling with the underbelly here, and it disappears. Perfect. Again. We've been using that word. Ah, little too much for how rough this sketch is. Right on a rough in the legs, rough in the legs. Um, and see if I can now see that one's hidden under there, and I'm gonna get a plan to deal with that a little bit later that you're gonna see because remember the's air almost on two different canvases, right? You know that. I want to see if I can bump it a little bit so that I can have that that leg. Still, they're right. We'll see. I want a plot it out a little bit more and see if it works that way. Okay, so I'm adding a little bit off. Flourished to the to the main, I guess. Let's call it that. And looking at it overall, thinking not bad, right? You know, the composition is where I want it to be. Generally speaking, for him still not loving the the hands type of thing, you know? But we'll see. I'm gonna rough in some some clouds a little bit. Just blob the men. I'll give a more detail in the final lines and stuff, right? I want to see how this all kinda fits together. See if it follows my plan for the composition and stuff, right? If I can fit it within most this box, but still havent kind of funky looking like I said, I'm gonna have these little swirls to the to the clouds later and stuff like that. So I think so far it's it's flowing the way I want it to. Uh, I think I might trip myself up a little bit with coming underneath some of this for you know, I want to separate those canvases a little bit. So I got I got to be aware of that for where I'm plotting some of these clouds and everything right coming off the end there. And I know this is looking hella messy right now. Uh, but that's kind of the intention, right? You know, I want to make sure it's plotted. Where, where I had kind of planned it out on Miss Munn. Um, and that it's Yeah, cheese. I'm not loving this hand here. Let's see if I could switch these up a little bit. I I have a feeling I'm gonna come back to these a number times. What if I move them up here? And then maybe, you know, sometimes it helps if I plot the hand first or the clot, the talent, whatever it is here, if I plot it where it's gonna be, and I'm wrestling with how to stick it around here because I don't think the length would give it to me. Maybe I can get a gripping onto here. Yeah, that might work. That might be okay. You know what's funny? Because if you're gonna have some interaction between characters, it's awesome. right. And if you don't have characters and you just have one creature, whatever, you can have it interacting either with itself or with the environment. So that's what I was trying to do there. By gripping itself and one gripping a cloud, maybe See if that plays in right. Okay, so I want to kind of look at it and say, Hmm, You know, I've got this rough red outline that I had plotted in, right? I think it's the direction that I wanted to go in. You know, I think it's plotted out, um, in the canvas that I want, right. I think it looks pretty solid. Um, now my sketch, you know, it's looking sketchy. I'm gonna fade it out here a little bit, all right? And now I think, Yeah, I think this is kind of at the stage where Martz start doing a little bit mawr of the final work on it and especially adding in a bunch of details that it deserves, Right? So I'm just gonna kind of faith things into the background here and stuff and get myself ready to, you know, add in those details. Listen, if you're working on paper I know it's tougher. II sketch really light on paper and stuff for a sketch with a blue pen. Ah, but on digital, we got layers. So we're able to zoom in like this or, you know, whatever. Okay, So these air, um, possibly my final lines as I get into this year, right? I never quite say that for sure. Their final because, um, you know, there's always tweaks to be made in the stuff. That guy. Right, um, looking at the doing, the ridge in the eyes here. I'm just making sure that everything's kind applauded in. I still want this muzzle coming forward a little bit, right. Giving some depth to it and stuff, right. Gonna add in the nose Here, give it some more detail. Like I said, kind of reminds me a bit of ah, lion's nose to an extent, right? You know, not fully, but there's some similarities there. Um, maybe. And this is more like whiskers or pores or whatever and stuff I get ripped. Okay, I've got this big whisker coming out here, right? And the big one on the other side here, coming up when Kim kind of just drawing the base of it right now. Just so I complied it in. Gonna add the teeth kind of hanging out below here. Um, no. Let's see if I can kind of bring this up. It's hard, You know? It's hard to make it even. There's some all going fix it later, as I just want to add these teeth and the lips, everything. I want to get the mouth kind of rolling and everything, right. For some reason, they always got fat lips on these guys. I love it. I think it looks pretty cool. Gonna add some teeth in between, uh, or in front of that forked tongue, right. As they fade off into the background a little bit. Put that tongue in. You know what? I don't even know if they'll see it now. Now that I've got it so hidden back in there after I put the gums and the details and stuff , I get maybe all colored a different color or something like that. Let it punch forward just a little bit. Right. Okay. I've got my chin here. But you know what? I'm gonna, uh, mess with this chain a little bit. I'm gonna give him a bit of a goatee. Um, a lot of these dragons they've got. I love it because they've got these flowing hair of indifferent, interesting spots, right? And so on this one, I wanna have it coming off of that. That chin. Let's see, maybe kind of roughing in a little bit of the face a little bit here, right? Okay, let's not look into bed. Yeah, ADM Or of that flare And there be the main flair kind of plot out the brow, See if it's lining up the way I wanted to. Okay? And then I'm gonna add that that main flare here too, right? And I wanna starting to circle it up a little bit more, so it looks less like fire and flame on a little bit more like how the theme of the dragon is gonna be. And that's clouds, right? So I think you'll see if I had more details into these, I'm gonna add those little cloud swirls camp. Okay, now we're gonna go back into these humps and bumps for the, uh, horns. Right. We got that one section here, The kind of base of the horn. Okay. Gonna add some little Ridgelines just to kind of plotted up in the second base of the horn here. Some with some Ridgelines and everything. Okay, I'm gonna let's see, Get myself up top here and stuff. Draw this. I guess that this kind of nature looking branch horn type thing coming out here, um, you can do it as much as you want. Like, I've actually seen, like, bushes, like little trees and bushes put on the top there. And stuff from, um gives this kind of earthy feel to it, this elemental feel, right? But for now, I'm just sticking with this kind of branch type. Look to it and everything like that. So I'll give a little bit of detail in there. Perfect. Okay. I want to add the the flare, the waves coming off the main. A little bit off the jiao on stuff. A guy, right? Um, I'm not loving How This is looking too much like fire, though. Hold on. I messed up. I forgot to add the second base. Oh, no, no, no. There you go. Okay. So I'm kind of covering it up with that. The back of the main of this creature, right? And little bridge on the nose. I'm gonna go back and fix up based on a little bit. I think I just wanted some details in here and stuff. I kind of, you know, sometimes I bounce around a lot and umm, it's kind of whatever holds my attention a little bit, and I don't think there's anything wrong with that. I think it's OK. It's OK. Toe jump around a little bit, right? Nothing wrong with that. So here's the base where I messed up and it's an easy fix. I'll just come in kind of erase it and add that. Get a hump to that last bump that gives the horns. They're kind of base. All right, let's see if I had some little bit of scaling going on here. You know, this is gonna be a bit of an experiment for me, playing with scale, seeing where I like them where I don't I'm kind of going with a soft triangular pattern and stuff, right to see how it fits. I think that's the overall theme I want Is this kind of mountain type of ridge looking thing. Crime for the scales. Okay, They're gonna be larger. They're gonna be smaller, but yeah, now that's starting to look like more detail, right? You know, it's starting to give a lot more punch to this creature. What do we think? You put him under the eye. I'm trying to think of different spots to put them right to see how it looks. If I put these under the eye and might give some punch to the eyes, put him randomly, little scales around in different parts of the face. No, I can't say I love the eyes right now. Looks no, we'll see. OK, let's Let's see if I add some stuff to the brow here and stuff and see how it plays, Hold him. This is a lot of experimentation. This is what you should be doing is just kind of playing around and seeing, you know, does it work? Does it work for you? Does it work for your vision, The's air mythological creatures? So it's not like a definitive no, you know what it could be? Maybe in a few cases, but a lot of times it's just like this kind of works are kind of like it, but kind of not great. So that's up to you a little bit. Right. Um, the only thing I would suggest in what I've suggest to all of these units is for you. Just try to stay consistent in what you're doing. So if you're you know, if you've got these scales and you're working them in a certain pattern, don't flip patterns. Unless there's a reason. Okay. Stay in that pattern. Yeah. I'm not loving this thing under the eye. They're driving me nuts up close. Not horrible, but from a distance, they it looks uh huh. Looks kind of like I make up or something like that, Right? So maybe I'll just think and underneath the eyes here for now and then see if I ever come back to it. That looks so much better. Yeah. You know, not every choice is a is a win, Not every choices. It's going to be successful and stuff like that. You might have toe, you know, you plot something out, and then just kind of say no, gotta back up with the digital work, you know, that's where it becomes really easy, right? You're able to just hit that. Whatever back key, you've got programmed in and stuff. I got, so it helps. But don't be afraid to erase, right? You know, I'm gonna take ah, bunch of attempts doing these giant whiskers and stuff I got and I'm gonna be erasing, right? You know, it's I like a free flow of my hand, Teoh kind of follow along. And that doesn't always work the way I want it to. You know, sometimes it fattens up where it shouldn't. Sometimes it's thickens out and stuff I got right. So, you know, I'm gonna come in a few times and erase, Erase, Try again. Erase, erase, Try again, erase, get frustrated, walk away and then come back and may be tried again. Oh, no. See, no matter what you know, there is an easy frustration that comes with this right, that it's not doing what you wanted to do. There's some digital tricks you can use, but, you know, right now, what I'm wanting to do is just kind of freehand it all and flow as if I don't want to use too many digital tricks because I know a fair bit of my students are, um are on pen, paper and stuff. I get right so I'll do a few things here and stuff I get, you know, like the easier races and that kind of stuff. But I don't want to do a lot of copy pasting or anything like that. I think I want to leave that for Yeah, I don't want to do a lot of digital tricks or anything. No copy. Pasting. I thought I think I wanna you know, we'll leave that for another course or something for these character designs and stuff. I want it that any student can sit down in any medium and kind of try to bust these out and stuff. Right? So All right, Now, where to next? I think I want to do the underbelly here and see if I can cut a role. It there's already a lot of details here and stuff, Right? So how's this underbelly gonna look? Where is this body coming from? The body rolls around a little bit, comes underneath here, comes over swoops. Uh, that's got ugly. Swoops over and carries down. Right. There we go. OK, so that's part of the underbelly. This part up top? Yeah. Where I'm gonna put you know, I kind of rough in that shoulder there a little bit. And that's the part up top there. Um, I'm gonna put these back ridges, and I'm starting to turn them into Lou, but more cloud looking, you know, I don't want them sharp, right? That sharpness was going against how my designs and stuff of what I wanted here. Right, So I'll probably go back and fix most demo put little swirls and squiggles and all that kind of stuff in there to keep with this cloud technique, you know? Yeah. There we go. I want to take away some of that sharpness there. Maybe even in the horn. Do I want to do that on that? I don't know. No, I might revisit that later. We'll leave it for now because, you know, like, I'll just see how it kind of progresses and stuff I get and then see if it fits with it. All right. Ah, la times. You'll throw something out there, and then it's OK to leave it like, you know, what I do is before I go to the next stage, that's when I start really looking at, you know, first the sketch stage than the lines. And then I don't bring it to colors unless I'm really happy with each part of it. Right. So let's start toe put in some tiles here and see how the flow kind of goes if you've got these. This is another way that that coiling effect can kind of help you. You know that when I showed you how to do the coil pattern and stuff, I get to get the form. While this will also help you, let's say you're trying to find, you know, these circumference lines or whatever around, um, around this particular creature, right? You can see how the coil helps in that, right? I can kind of follow those lines right? Is not set 100%. But it sure is a nice little guide. That helps me without it, I think you know would be easy to get mucked up a little bit, get a little bit lost. Everything right? Um is easy to get mucked up, no matter what. He even with some guy eggs and everything s so don't worry about, you know, don't ever expect to be perfect with this stuff, right? You're you know you're gonna mess it up rate. Just enjoy. Try to flow as best you can, uh, and then look at it later and say, Oh, my God, what did I do? And then you can go in and kind of fix it a little bit. I'm just wanting to see how these scales play out, and they look pretty much how I imagine them. I'll have to clean him up a little bit later. Put some bigger ones in in a few different places here and stuff. I got to kind of match it out a little bit, right? Sometimes you want to go with scales from, you know, small in like in bendable places. Say, for example, fingers and around the facial features and stuff that can really show a lot. And then you want to get larger in the larger body sections and stuff. Um, okay, so I'm doing the underbelly here. This is where we're gonna try to try to have the kind of the what I would call Ribble. It's the underside of the snake or something like that. You want to show that they are following a nice flow to the circumference of the creature and stuff of its of its form. Um, and these will really help you show the curvature of it. All right, If you've got it right, if you've got the bend, correct, they're gonna help you with the with the flow, you can add a little bit of effects on there and stuff like that to show there's there's it's not just flat that there's some details and that could be punched up if you do, um, Mawr line work or something like that. If you're especially to get into colors, then you could kind of see how it's starting to work here, right? Yeah. Yeah, I think so far it's looking okay. I think what I might do, though, clean this part up just a little bit. It didn't quite flow as well as I would have liked. That's okay. I have a feeling I'm gonna be Do this a few times. I just want to add some punch to it here a little bit. Okay. Not bad. Yeah, it's getting there. It's getting there piece by piece, right? And this is a huge, huge piece, you know, I know that the this unit is a little bit longer and time than some of the ones that we've done before? Uh, don't stress it. You know, um, however long it takes is however long it takes, right? I'm not gonna do the whole thing for you here today. I don't think, you know, going into the colors and all that kind of stuff. I'll review it all for you and everything, right? But I will not hit on some key details. The face was a big one to me. And now the hands or claws. If you've ever gone over the bonus unit I have in this in this course the what is it called ? Paws, Claws, talons and hooves. Then this will be super easy for you. Um, kind of roughing and where the knuckle bumps would be and everything. And then adding in the claws, I might change these claws and grip them into the cloud. At some point, I'm not too sure. Cream have the palm kind of resting. There. A little bit of the tendons and bone showing. Cripe. Here we go. Have the shoulder. Oh, no. This is the back leg, right? Have the kind of hip. They're both of quite small on this creature, right? The knee or whatever joint we might call that stuff I got down into this cloth. Not bad. Yeah, I'm kind of digging it. Ah, but you know. Yeah. Okay. Well, let's see if I had some scales in here. There's still something bugging me here. What is it? Um, adding scales, you know, especially to the small ones, to the knuckles and to the fingers and stuff. I got taken. Really Give a nice look to it and everything, right? That Yeah. Okay. So far. Skills. Look right there, Fitton. Everything looks where kind of word should be. I know, but some still bugging me here. Let's see. Yeah, that claw looks awkward as hell, Especially that one finger type of thing. I want to get rid of this. I don't like how it looks. I feel like that thumb opposable thumb. Obviously, in most cases are is on the inside, you know, towards the inside of the body. So I'm gonna put it over on this other side here and see if it reads a little bit better for me and stuff I get. Yeah, yeah, I think that's that's the better choice. And listen, you can get this weird tunnel vision when you're working and stuff again. 15. Dragons Bonus: Hey, guys, I'm back and I've got another dragon unit here for you. And I know what you're thinking, Ed. You already did up a few dragon units. But what can I say? I like dragons. Not only that, but there. Ah, they're just one of those mythical creatures that are just done so many ways so many times that I think having a few approaches to it is what? Smart, right. And plus, yeah, it's a bonus unit. So let's have some fun. Okay? I sketched out a few dragons earlier. Just some really rough design year, you know, really simple, actually, if you can tell it's kind of almost catlike in the body, but with a really long neck, Right? So let's see how if we can kind of take a look and see if we could find some basic shapes. You know, that's where I like to start trip. So I think one basic shape would be the hip one basic shape would be kind of the rib cage shoulder area. And then we can also look at the back that comes along here we come comes out towards the head, and for this one, we're gonna use kind of Ah, a cylinder cone type of thing. A tapering cylinder. This back will come along nicely out to the tail. And just like with a lot of other animals and creatures that we've studied, they're gonna have certain joints, right? Uh, in the hip. We're kind of drawing through the animal here, looking at what's on the other side and the shoulder, and it would be through Okay, so we couldn't follow from the hip down to what would be a knee down toe. It would be kind of an ankle. And then with a lot of these creatures, they have kind of like, uh, I don't know if the best way to suppress it for you first and secondary foot like there's actually bones that run in these things. So we don't know for dragons, cause they don't kind of exist or do they? But ah, for other animals, that's what this dog laid kind of resembles, right? So it comes down to knee down to an ankle. This is kind of one foot. There's usually, like a spur stem. And then it comes down into the second foot, which, actually we could think of it like toes kind of thing from here down to what would be kind of an elbow down to a wrist and then the foot. The front is a little bit more simple. That's right. Okay, then we've got wings coming up, and I'm gonna This is really they're all bunched up here. So why don't we go over to the other side and let's talk about wings a little bit. So we've got the shoulder joints here. They're going back to that to that elbow type back to the elbow and then back down to the wrist and then to the foot, right? It's kind of hard to see, but we're gonna draw through here. Is that rib cage? The hips are behind bigger, even the head is here. I'm going to draw a little bit darker, and it's gonna go back into this kind of cylinder thing. You could even draw kind of Ah, bisecting line there. Right. So if I drop your side here would be looking something like this. Okay, I'm kind of hoping you're gonna follow along with this all throw in the pdf there or rather , the J peg for this one. Just so you can kind of use it as a reference, but don't stress over too much. What I want to do with this unit is we're gonna talk a lot of it about just flow sketching out skeletons for these creatures. Right? But let's get the skeleton down. First, we've got where the wings mount and is gonna come, Let's say to an elbow than to ah, palm of the hand. I like that kind of thinking. And then from here, it stretches out. Two fingers. 1234 1234 So again, think of that wing is like, here's the joint coming out of the body here is coming to an elbow, comes to kind of a hand, and then it's please displays up from there. Right? Okay. So do you think you got it, or do we need to sketch below? What do you think? Well, we can kind of do it really simple. You know, hips shoulders out to the tail. Here's the head. Here's the wings will come up 1234 type of thing, but they're all folded in shoulder will come back down to the elbow, down to the wrist foot. This one could be down to the knee kind of thing. Gram back to the ankle. I'm kind of emphasizing because I know what it doesn't look like an ankle. But like and then down to the first and second type of foot, what do you think? Makes sense? Okay, So why don't we kind of back out and see if we can sketch? Ah, few little dragons where you want to start. Your dragon is up to you. You know, like, if you want to, let's do this one will start it up at the head. Something like that. Okay, I'm thinking of a dragon kind of flying up this way. So we're gonna start at the head. We can even bisected here, and then the neck is gonna come down and just kind of flow. So far, so good. We'll throw in the rib cage here and the hips somewhere here. Okay. So what does this look like? It looks like a snake on rolling little balls or something. But what are we gonna add if we want to, We can add the wings first. So we're gonna put the joints up here. We're gonna go from the joint out and then up to the hand, right from the joint out and then up to the hand. And then what did I say for this dragon? Let's keep it. 1234 Something like that. 1234 Cool. He's flying so his hands aren't grounded, so they could be just kind of sitting here floppy. We could go back to the elbow, up to the shoulder, back to the elbow, up to the shoulder. Um, if he's flying sometimes will think that the feet will be back here somewhere. So weaken like this is the first section of the foot. Here's that second section, kind of to the ankle, right out to a knee and then up to the insertion, out to the knee and up to the hip insertion. And there we go, like legit. That's a dragon, right? You can see how you condone, start toe, fill in Some of the details that we we have up here, right? You could make the head law or the neck longer shorter. Let's if we do it from a different angle here again for these guys, I kind of like to start with the head and then get into the flow of the body room. Um, this one's gonna be Let's make him flying as well, But we'll make this a little bit closer. Ah, let's see if come back here to the elbow, drop down to the wrist type of thing, and then same kind of thing would come from here. Me up to this point of the foot, and then it's gonna come even further. Okay, so we can see Already held. This is flying, right? And then what did I say? One point, actually, one on I could bring it in a little bit. And then up to the hand. This one kind of comes this way and that up because you know its way further in the distance. And then from this hand point, we're gonna go 1234 And this one is kind of going to go. 1234 Something like that, Right. And if you want to, you can start to do the webbing. The wing. You can start to Ruffin whatever details you want in something like this, from okay and even, you know, do that half line because I find that really helps for plotting where the mouth is gonna be , right? If I kind of take the cylinder, cut it and then bring it back here. I know that the mouth is gonna be here if I want to open it just a little bit or something . I could do something like that. I could put the ridge of the eyes on either side Something along those lines, and I can start to add in the details and stuff, right? Okay. What are we thinking so far? How does this look? Sketchy. That's exactly what I want. You know, right now, really, what I want to do is just rough out a few ideas and see which one I like. Okay, so I'm gonna kind of and see a one guy flying, but I want something different. You want. Like this? Yeah. Gonna kind of do this to start. I'm gonna have, like, this. So he's gonna be flying, so I'm still gonna have, like, the leg kind of just here and then hanging down right in his arms, kind of just resting and then hang down. You could see how quick I'm doing this. I'm just kind of piecing things together. You gotta find, like, the pieces that kind of work in your brain for it, you know, Is this working for you? Does it make sense how you're drawing it and stuff, right for me? Um, doing the head and then during the rough quick lines really helps me plot out what I want to do. So this is gonna come up. How do I wanted to the wing? Really? I'm trying to think of, like, you know, how's it going display. Right. So I'm gonna come back and then come forward to the hand. That's what I want. Yeah, kinda looks funky. And then 1234 something like that. Then on the other side of come forward, it's a little bit further away from us to that, you know, it will come kind of like this and then up to the hand and then hit it 12 But we're not going to see all that, right, because it's gonna be covered by this section of the wing. Okay. So you can see, you know, I can draw through and do the other hand, right? I could draw through and do the other foot something along those lines and that. You know what? I could even cut this something like this. Here we go. And that would start to be, you know, an open mouth or something like that. So what are we thinking? We've got a lot of side shots here, flying shots and everything. You know, I like drawing dragons flying, because now you get to play with the wings a little bit, right? So let's see if I could do a little bit of a more challenging in here. So if I got some room here, Okay. So what I'm gonna do is kind of may be rough This coming something like this just for now. Right? And then what? Kind of coming down and then up. So I'm gonna have the rib cage, maybe maybe here and then the hips behind. So, like what I'm trying to do is, like, this is gonna be really in the forefront. The it's gonna come back down the neck a little bit, will come back down into here, come into here, and this will be, you know, here's where the two arms will be, right? Maybe don't hang down something like this. And then member, how do we want to do this. Hang down. Here we go. Something like that. So I'm thinking of it kind of flapping. I had all those, These guys with the wings upright. So let's see if it's he came down with a wash, right? Comes down with the A really big I don't know. He's, you know, it's flapping his wings, so they're coming down. So I'm gonna do this. Wait. 1234 And this one's gonna be, like one him to This is where it gets funky, cause I'm kind of going through it a little bit, Right? Three for something along those lines. But it's kind of bending because the way the wings going and stuff from Hey, sorry, Just moved us over. I'm running out of paper here, but this is just the sketch. Here we go. In. Case was gonna come here and then, Ah, these back legs will be way back here, so that kind of maybe come forward, go back a little bit and then come down into the feet. There we go. And then the tail will maybe kroloff behind or something. I want to look as if he was like flapping up and then flapping down, flapping up and then flapping down. Okay, so now what I can do is come in taking a look at the dragon that we've got here and come in and start toe sketch out some details with this unit. I didn't really I'm not going to spend part. The time I'm actually think I'm gonna kind of just rough in a few things here. But, you know, like, I think we've already gone over some some of the textures of dragons and stuff like that, Um, that kind of thing, right? Like, that's not really what I want to talk about here. What I wanted to show you more was just how to sketch out roughly, you know, some some points of characteristics of a dragon or something that you can take that basic body formation and then see what you can create out of it. Right Here we go, starting to work, you know, here's the inside of the mouth. Maybe something along those lines. And this is really rough. I'm gonna redo it a few times, probably coming here and go over it. Minimal. Maybe. Put a horn. Yeah, something like this. So far right. Have this net coming here. Have this part of the arm roughly coming along these ways, right? Kind of actually a little bit human esque in that. Here we go. Have this coming down here. Um, yeah. And then you don't Like I said, you can then design it. How you want to design your dragon and stuff. I think if you if you get the basic flow off the structure, that's what really matters. You know, if you can get this flow of the structure down, then you can add in. No, no short tail, long tail feathers. Kind of cartoonish looking or anything like that. But what I did here was basically took a sketch of a dragon, broke down the basic structure of it and then just played with it, moved it all around. And now you can see did some cool lines with it, right? I started to add a little bit of picturing a whole lot of details, dude riding on top and everything, and he looks pretty good. You know, out of all the sketches that were that I had drawn the basics skeleton for this one kind of caught me like something about him doing that heavy flap of the wings, right? Uh, it's like he's gaining through the air and stuff. And then I thought, Well, you know what? I'm gonna color it up, too. I thought it's gonna look kind of cool, you know, flying at night with the moon in the background and stuff like that. I get to play a little bit more with the texture in a little bit with the colors and everything. Um, And then I added a little blur to it, to give it almost an animated sell shade feel like as if it was grabbed right out of an animation stuff for him. But listen, this final product product, I like it. I think it looks cool, but it would have never came about if I didn't use those basic fundamental structures, right? The cone of the head, the circles for the rib or the spheres for the rib. Rather and the hips and stuff. I get understanding the basic leg structures, understanding how I'm gonna be consistent with the wings and everything, right? If you do that, if you design a creature, whether it's a dragon like this or any type of monster. What I really recommend doing is what I just did here, draw it out a bunch of times, don't You don't have to draw every detail or get caught up in it and stuff like that because, you know, you're gonna know what most those details look like because it's your creature, right? But if you could draw that structure of the creature from a whole bunch of different angles in a whole bunch of different poses G's Now you own it. That's gonna be your creature. Okay, guys, I hope this little bonus update was interesting, and I hope you dig my dragon. 16. T Rex: Hey, guys, I'm back and I've got a new set of units for you. This one here is focusing on how to draw dinosaurs in particular the T Rex, the big daddy of them all Pepe thing. Ah, yeah, I know, I know he wasn't the biggest, but I don't know. They're the legend of him. Kind of carry stronger. Okay, So what do we do? Well, you know, this is how I like to break down Any creature, any figure anything is kind of, you know, just break it down to some basic forms and then see if we could build a back up again. Now, lucky for us, uh, were unlucky. We actually don't kind of know exactly what a T Rex looks like, right? But we have ah lot of understanding of the skeleton. So that's what we're gonna look at here. We're gonna look at the skeleton of this T rex. I've kind of drawn this guy up here and then see if we could, you know, try to understand it and then build a backup. So one of the easiest points here we could start with the hips, were just gonna draw a circle sphere actually right. We're gonna do the same thing kind of up in the rib cage here. And then, you know, the head heads a little funny. I kind of like to have it as a just a kind of a rectangle here from the side here. It looks cube ish. I know, but it's gonna be a rectangle. So now that we've got this, we're going to go with the neck that comes down over, top over, top the hips and then out into the tail. The tales got a lot of mass on these guys room. Okay, So with both the hips and the rib cage, we're gonna have some joints going through. We're gonna have where the top of leg inserts in the hip joint, and then we're gonna have where the shoulder inserts. Okay. And if we're looking at this now, you know I'm drawing through. So imagine if I turn it and at my sphere kind of turns. You know, this might be word inserts on this side, right? And then if I'm drawing it through, it'll insert on the other side right now, we're looking straight at this t rex from the side. So we're not really drawing through tons. You know, we're not rotating it all. Okay, so what we're gonna do from here is come from this hip insertion down to what would be in Ni then down to what would be kind of an ankle slash hell. Now, hopefully by now you're getting familiar that there the dog lake, right? That it, you know, here's the top comes down to here, and then it comes down to what is kind of a fake ankle. Or we could think of it like an ankle. The foot comes down and then the toes air down here. Right? So this we can think of this in relationship to humans as the foot, and then we can have the toes splaying out from there. Okay? So if that makes sense, here's the base. The foot, you know, here's here would be the hell. And sometimes you could see a heel spur back here, right? And it comes down into this main body of the foot, and then the toes kind of splay off from their right, depending on how many toes and sometimes you might have one in the back here. This one's got this one off to the side gate shoulder comes down to what would be an elbow and then comes out to a wrist. And he's only got the too little, uh, fingered digits. Let's go in digits. Clause, digits, that type of thing. Okay, so we've got this side one way we can see, you know, weaken use the tail is a bit of it. Tubular triangle tape of thing that let's go over to the front. I will start with the 1st 1 in the front here. You know, from the side. It just looked like a rectangle the head. And you know, if we're going to do it from here to, we can kind of do the same thing. What you could do is kind of draw, you know, here's the muzzle, and it's kind of going back into that shape, right? So we can come up front and we can draw the front muzzle. We can go back. Actually, it's a little bit wider shape in the back here, just the way the John Jowell hangs, get added in here and then kind of draw the lines going along back this way, if that makes sense. Right. So you can even get wider. Something like that room. Okay, we've got the rib cage behind, and then we've got the hips behind that. And here's where I'm drawing through, right, You know, so you can see that the the shapes air, starting toe overlap each other, right. The lake comes from the top of the hip. Here comes down to the knee, this one comes down to the knee, comes back to that ankle joint, that heel spur back to that ankle joint and the heel spur. And then, like I said, this is kind of like Imagine, this is the first body of the foot, and then it splay is out for the toes. Splay is out for the toes and that one. Hook that one digit in the back. Don't worry. We're gonna do this a few times. Okay, Um, we got the shoulders on either side. Here. You can see me drawing through all draw a little bit heavier, comes down to the elbow, comes down to the elbow, out to the wrist, and then the digits out to the wrist and then the digits. Okay, so let's go below and see if we can kind of repeat some of what we're looking at here. We're gonna draw the hip, and I really hope you're following along with me, right? Gonna draw the hip. We're gonna draw the rib cage and weaken. Draw the head up here. Right. Something like that, we can draw from the base, The head down the spine and out towards the tail. Come will draw these main joints, the shoulder in the hip coming down to the knee coming down to the ankle and heel Spur down to where the the digits start. The shoulder comes down to the elbow and out towards where these two digits spawn off of there. And that's pretty much it. That's it from the site. That's, you know, look at this thing. That's how simple it looks, right to an extent. Obviously, we're gonna add more details. And But what I really want for the next little bit is to try to get this skeleton down. Because once you've got this base down, you're gonna be amazed by how much you can do with it hurt. Okay, so we've got this head. It's actually kind of tilting a little bit room so we can draw the front of it if we want. Here's the front muzzle. It's gonna go back actually back here, this one's gonna kind of splay out and something along these lines. Right? Okay, so that's the front muzzle. Then we're going to draw the rib cage behind that and the hips behind that. Me, I drew those hips a little bit big, but whatever, it doesn't really matter that much. We can draw the insertion on the hips and kind of come down for the leg, come back for that heel spur ankle, and then, you know, this part comes down into the first section of the foot and then splaying out splaying out in the back. The back digital room will come in here and will add the shoulders. It can come down to an elbow out to a wrist and then two digits. Um, this one can come out to an elbow inwards to a wrist in two digits. So you this is where you start to realize that you can do, ah, a lot of things like, you know, it's a joint right, so you can move it this way or move it This way, you can start to move it around, depending on the nature of the joint. Now, one thing I kind of forgot to do up top here was this tale that kind of it comes back, right? So we'll do Imagine it's coming from behind Here comes from behind overtop of here and then a tale comes back out, Take cuts in Right. Okay, so we've got a few pretty good examples here, right? And now that we have these examples, when we try to sketch in a few different just skeletons, right? Like, I just want to kind of rough some things and see what we can do here. Okay, So you can start even is your choice. Whether you want to start with the hip, whether you want to start with the head, it's it's really where you want to try. Okay, So I'm gonna start this next one with a hip and kind of have it this way, but I think I'm gonna like here will be my center line. Right. So then I'll put the the rib cage above, and this will be my center line. You see, I'm just doing spheres. Right? So, um, the two legs would be on this side. The two shoulders would be something like this. Right? And maybe all have had something like this. I don't want it. Like I kind of want this jawed to be kind of wide seafood. Even works that away. There. There we go. Ok, um, so I'm gonna come down to a knee, come down to a knee, come back to that ankle heel spur. Come back to that ankle. Sorry. The ankle heel spur. Come down into the foot and then splay the the toes. Right. So I'm gonna come down to the foot and then splay the toes, and then we've got that one inward little, uh, digit coming right. The upper arms are pretty blame on a T. Rex. They're just gonna come down here and then kind of hang, come down here and then kind of hang and then I can, you know, have the two digits there. Something like that. And this tale, you know, it uses itself as, ah, counter weight a little bit. So it'll be something along those lines. Okay, Not bad. You made him too big, though. I want some room to do some other stuff here. There we go. And just in case you were kind of like, Hey, that looks like a chicken other than the big, boxy head. Yeah, kind of does. Right? Okay. So speaking of heads, last time I served with hip one on, I kind of like, do something here. I'm gonna do, do the head first and see how this works. But you know what? Now I think about it. I want to kind of open this up. So I'm gonna use this is my center point for the jaw and instead kinda come down here and come up here and have this as the the ridge of opening. Right? See if that works. And, of course, there's gonna be more details coming in and stuff like that, right? But I just kind of wanted to open it up a little bit more, right. There we go. Maybe this would be even higher coming down. Okay, so now I've got an open head. Then I'm gonna add in the rib cage the hips and see I'm already running out of room. This is this is why usually you want to plot things out a little bit, right? Um, because you're limited in space so sometimes it's nice on the computer. I get to goof around and rough it and then adjust it and all that kind stuff. But if you're working on paper, could be a little bit tougher. So coming down here to the leg back to that ankle heel spur forward foot and then display display Display inward. Right. Uh, this is way on the other side. Maybe I'll bring it out here and then bring it back, Bring it down to the foot and displays place. Play in an inward there. And I guess I could zoom in for you guys. I don't know why I'm kind of drawn from such a distance. This one's going through, so this will come down and then it can collect this. This one? Why don't I bring in something like this and have it more like that, right? So it's a little bit more dynamic than what we've been doing. Back of the head comes down to the spine, comes down and then that big balance tail what do you guys think? Starting to look like? Yeah. Okay. Still looking like chickens, right? I know, I know they look like chickens, but, uh, I think there's actually a good reason for that. You know, there's a lot of relationship between dinosaurs and birds and everything. Right? Um, you know what? I still think I'm gonna start with head, So I'm gonna come come here and kind of doing this one a little bit bigger so you can see a little bit more kind of gonna have this guy looking straight on. Behind it will be his rib cage back here will be the hips and then the tail kind of Congar off to the back there. You know, let's say it's right about here. Like, because I'm thinking, you know, the the center circumference line would be something like that and maybe similar positioning here. So this shoulder would be here and the other one would be on the other side. We could drop it down to here. Have those drop it down, haven't come out. And there's those claws. This one can come here, maybe come back to that ankle heel spur, come down to the foot and then splaying with that inward one and coming here. Same kind of bringing it back that Healdsburg down into the foot and then the splay, splay, splay, inward one. And this will come up for the tail. Maybe a little thicker. Not bad. Okay, when we look at this now we can see that there's a lot of a lot of things going on with the skeleton. But if we keep practicing like this, what I hope is that you can kind of move things around. And then and then what you do is you start to come in and add some details. Okay? So what do we have in the front? We have this kind of I'm just going to sketch this roughly right now, right? We have this muzzle with the nose here, right? And we can keep, you know, you can keep panning up and kind of looking back down and stuff like that. Um, hopefully you've got the whole sheet in front of you that you're able to do this, right? We've got Ah, and this. We can think of it as a central line ridge a little bit. That kind of comes like this. There's we're gonna come here and do the I ridge. Follow this line. Right? There we go. We can see how it's kind of getting constructed here, and this is gonna come in and do the mouth. So we're looking there's a little bit more on this side of it, right? So we can have the mouth here. Cool. And this is all coming here. Um, from this side, we might not see much of the I. We might just see a little bit like that right down here. We can have it quite open. And, you know, like I said, I'm just kind of roughing it. So Iken put the bottom chin in here. The thing with the T rex is its mouth kind of comes up and then fans out and then comes back in this way, fans out and comes back in this way. And this is where you get all those tendons on the side here. That ligaments holding the mouth together, right? The actual tongue is still center in here, and the teeth still run a role like this. So you can come in here and you can kind of start doing in the teeth. I'm trying to draw this kind of fast cause I know that this is real time for you guys, and so you know, I don't want tohave these. Ah, these videos two hours long as I render everything out. Right. So this this pocket, that's all in here. This is a lot of gummy tissue that's happening in the mouth. Okay, so this one then, is gonna come the jaws gonna come around. Same with this side. It'll come around, come up and you can think of like, somewhere around here is the cheekbones, and then it comes up into the skull. There we go. And you know what? I would I would come and adjust it just to make sure that things are kind of equal in how they're they're looking. But not about your your starting to get the gist of what it looks like, right? Just as Ah, riel. Rough sketch right now. There we go. Okay, so now it's gonna come down into the neck, and then we've got this massive shoulder that's happening here. I actually don't like these eyes. I think what I would do. IHS, zoom in just a little bit and maybe make them just a little bit more like this. There we go. So now that I've got that base form of the head, I can go on and take a look. It the next thing, I usually when I'm working on a sketch like this, I like to work on what's closest to me and then work my way back. You know, when I'm doing the rough Ah, blue and everything. It doesn't really matter, because everything is gonna be overlapping and you're drawing through things, right? But here, you know, here, this arm is gonna be ahead off this arm, right? This arm is actually stuck behind the torso here, So let's see if I dropped his chin down. You know, so this arm is gonna be almost like a human arm, you know, Here's the form. Here's to the elbow. It gets really small and thin. And then it comes down into these digits, comes down this way, and I kind of leave room for if he's got, like, ridiculously small hands and stuff from so same thing here. Here's the elbow. Here's the form. It comes over. Comes this way into what would be the hand right starts to come into these digits. And again, I'm kind of just sketching here, just roughing where it be. There we go. Cool. Okay, so we rough that in This is gonna come down into this meaty part of his hips and his back. This part is gonna come down and swing underneath. But before we get into too many deal details here, I want to do this late because this leg is ahead of everything, right? So you can think of this leg is like, again a dog's leg or a chicken leg or something like that. So there's a lot of meat gonna happen right up here. It's gonna come into this knee. It's gonna come back into what would be a calf type of thing and then a hell. So you can kind of think of this almost like it is. He's standing on his tiptoes or something like that, because the heels here and then it kind of comes down very thin into that for section of the foot, right? And what did I say? Happens. It's plays off from here, right? So you can kind of, you know, I can think of it this way is and there's all these toes coming off off of here and they come back up into this section. Okay, so there's these three toes and you can have claws, nails attached them all. And then, like I said, on the inside there's this one, something like that. And you know, eventually what you're going to do is get into rendering, you know, the texture of of the Chilean skin. Some people say they were, you know, feathered, right, so up to you how you want to do it. But right now I'm really focused on just getting you down with the form. So you've got the belly coming underneath and you could see how we're kind of following. Um, if if it's a male, maybe it's got this this sheath, and then it comes up into this tale and the tail goes off off screen there. So we drew through here for the other leg. It's gonna come down into a knee. It's gonna come back into this calf back here into the heel. Spur comes back down, and instead, now we've got the this one inside digit coming inside here, right? So it's gonna come down here, and then it rests and we've got these three other ones coming in this way. And do they look like chicken feet? Yeah. Yeah, they do. right. But I think that now you're getting that. This is looking like a t rex, right? That all of our little construction, you know, slightly looking like a chicken. Those types of things. Yeah, but it makes sense. The key characteristics, I think are really big head. Really. Big teeth actually can even make those bigger, I think. Right. Monstrously big teeth, scary teeth, big head, big job, big teeth, small little bitty upper arms, big chicken thighs, right. Like big, huge thighs. And then that taper down into these little feet. And that, my friends, is the T. Rex. So I hope that this helped you in. Not just listen. We've seen t Rexes before, and I could draw, you know, like these things above here that you just copy it, right? That's not what we're trying to do here. What I'm really trying to do is teach you some of the building blocks behind, drawing a creature like this and then have it so that you can turn the hips, turn the torso, kick one leg back, do anything you want with it, and still be ableto fundamentally recognize that you're drawing a T rex. Okay, guys, There's some good examples here, but I really hope that you work on your own that you take the time to draw a T. Rex in opposes that I have here, but also some that you kind of play with yourself, right? You know, just that you can come up with imagination. Um, you can start with just placing the head and then seeing how it would all play out from there, you can also think of like, Well, what's the T. Rex doing Isn't running. If it's running, you know, one leg would be back when leg would be forward, right? Is it grabbing something off the ground? What would that be? Head would be down low. The tail would be up to balance it. Right. So, guys, this is a great start to being able to draw a great creature like this. So make sure your roll with it, and then what you can do is send me some of your sketches and stuff and yeah, we could talk about him, go over em together, and I'd love to see him. Thanks, guys. Keep practicing. 17. Stegosaurus: Hey, guys, I'm back and I've got another how to draw dinosaurs unit for you here this time we're looking at the stegosaurus. I always feel bad for these dudes. It seemed like, uh, they're always pitted against that t rex. Right in in animations or movies or books. You know, some old school, uh, illustrations and stuff. And they were always getting Tauron apart by the T. Rex. So yeah, let's see if we can add some some stuff to this guy and make sure that the T. Rex stays away a little bit. Okay, so, Well, what do we got here? We've got Let's take a source that I was sketching out earlier, right? I think he looks like he makes sense. The one thing that I haven't really gone into a lot of when I talk about this like, you know, I go into structure a lot, but I want to talk a little bit about texture ing. You know, I don't know if you, ah, have ever taken my how to draw animals course, but I go over this a lot when it comes to Ah, the rhinoceros and that kind of stink. The texture of the skin. So what you'll find is, you know, you could get a lot of these folds in the skin, right? Get a lot of these these fold lines going on. And then there's also this cross pattern. Often that that happens, it can either be like, straight up and down, checkered type of thing. We're gonna be a little bit, uh, cross traded. So you know, like, what you can do is start to add some of these textures. And if you want, you know you can It could be just simple lines like this. And then, you know, these these cross lines going across it and stuff, and it starts toe Add some of that mawr reptilian skin. And you know, I know there's a debate whether rhinos have reptilian skin on the earth vinyls cheese. I know so have reptilian skin to them. Or whether they had feathers or not. I grew up with kind of more reptilian Dino's and stuff, so I'm going to keep keep with that Lula crime. The one thing that I would advise, though, is when you get a crease like this, you know, that's when you could do a lot of the text, Oring. You know, um, off a full that could be the back of the knee or something like that. You're gonna have a lot of that patterning going on. So I know I'm kind of jumping. Had a little bit here. Usually we start with the the Simple Structures, but I'm showing a little bit of rendering here just because I think it's important. You know, like a I've sketched out this dino here, and there's something missing to it, right? What's missing is all of the all of this patterns, right? All of that rough skin looked you could even put some scars going on along here or something. Right? There's also patterns in the plates of the stegosaurus right there. It's almost like fan like, So you can kind of do something along these lines and that'll hopefully, you know, starting from the top coming down that will give it a little bit of Thea the look you might be going for. Like I said, I know I'm kind of jumping through here. We're going to get into the structure in a second here. I just wanted to show you guys that, um when you're rendering the dino in this case, the stegosaurus. You know, you can take time to put all this stuff in here or not, depending on your choice of rendering. You know, in this course, I'm not teaching you how to color or anything like that. Um, I'm not teaching you out a shade, necessarily. I'm just teaching out a draw. That's the emphasis, right? That's what I'm trying to get at. So, yes, we're drawing. And I'm thinking you've gotta pencils and paper sitting in front of So that's what I'm gonna focus on. But it sure is nice to give a little bit of flourish into things, right? Okay, So now that that's out of the way, let's get into the basic forms. And I think you can almost see them already. We've got this small little rectangle for the head. Look at the size of that thing compared to what would be the rib cage and what would be the hips and then down into a tail, Right. Of course, we've got the shoulder. We've got the hip joint down into a knee down into this one doesn't have as much of of that false foot that the other ones. This is almost like an elephant type of structure, so it kind of does come down. And then there's this platform here, so but we don't get to see it. We don't get to see that he'll bump like we were in the T Rex or anything like that. This is almost really simple. You can come down to an ankle and then fan out the foot, so come down to an ankle and Faneuil the foot and I'm making that ankle kind of like this and then foot kind of blocking right so you can go from the base than neck down over the spine and down the tail. Okay, When we draw that below and see if we can replicate a little bit, have a big sphere for the hit slightly smaller sphere for the rib cage. And if you want to at this point, you can even bring the spinal line over and you can have it looking up here Could be the little rectangle for actually know what? I think I made that way too far out. Now that I'm looking at it in proportion to the one above here, I think I would have to back this out. Maybe just something like that, right? That looks a little bit. That lengthen of the neck was getting too outrageous, right? And then out into the tail here now, I would find my shoulder joint, which is a little bit lower on this guy versus the hip joint. Come down to an elbow and then down to the foot. I can bring this one down to a knee and down to a foot. And you know what? When we kind of draw through a little bit, have this one down to an elbow down to a foot. And I'm just these I know the future looking ugly, right? Don't worry about it. And back here, down to the knee and then down to the foot. There we go. You know, I got to say, I'm kind of happy with tell this looks. This looks like a Dina walking along and now office, and he's looking up into the sky Is he can write and, uh, he's looking for some You know, something's going to come down and Bytom rcep tonight? I don't know. Did anything attack these guys from the sky? Okay, lets see if we could do it from a bit of a different angle. So with the you know, this rectangle is just a straight to t from the side. But from the semi front, we can give it some depth to it. Right? If I was to draw through, it would be more something like this, if that makes sense, right, Depending on the angle that we're looking at gay, then we've got the big old rib cage here, the big old hip going through. Of course, we're drawing through a little bit, right? The shoulder is here. That hip joint is up top, same with on the other side, and same with the other side for the shoulder. This comes down to an elbow, down to an ankle and then the foot down to an elbow down to an ankle and foot and listen. I'm using the terms ankles, elbows, knees, that kind of stuff, right? But I think that, you know, and that that's not exactly what we would use for terminology or anything, right? It just I think I find it simplified if we're trying to think of it in and things that we can relate to. Okay, so from back of the head here. It's gonna come over over the spine and back down into the tail. And there we go. Do we want to try to replicate it? Let's see your back it out just a little bit, and hopefully you're following along on a worksheet. Why don't I do this first? All do the shoulders. Do the big hit behind. Right? Do the rectangle head semi rectangle. Do the shoulder joints that are down a little further. Do the hip joints that are up Bring this line that goes over and back. I can bring this. This is where I start to goof around a little bit, you know, bring this forward. Ah, this one. Maybe back this one. Maybe even further forward. And this one back, I think I may be moved the legs a little bit too much. It's starting to look almost like cat like or something, but I think it works. So what are we gonna do? Let's practice a little bit. See if we can draw the stegosaurus from a few different angles and see how it works. Okay, so I'm just kind of going to give us some space here. What if I'm looking down at it just a little bit so I can draw the big hip, the rib cage, shoulder type of thing. Maybe he's looking straight at us type of thing. You are a little bit right. Have the head there. Uh, low points for those shoulders. Hyper high points for those hips. Right? And then, Aiken, bring this over and have this tale coming off to the side. This can come down ankle, foot down, ankle foot. This one can come back and down, and this one can come back and down. There we go. So if I was to draw this, maybe you know, I'd and this is really rough. I'm just roughing in the the things on top, right? So I would be looking at the top of it just a little bit looking down at that that line. See if that makes sense. What's another one? Weaken Dio. Oh, from behind. Maybe a little bit. Right. Okay, So here's his rump. Here's the rib cage. Here's the head and we're looking at the back of it. Maybe a little bit. Right. Here's that line that comes out back into the tail. This lake could be coming down, and you could see how quickly I'm kind of trying to do this now, actually, should lift it up just a little bit to this leg. Uh, the other side might come down to that side, shoulders on either side of this sphere. This will come down. This will come down this way, and there you go. So we would, you know, we could see more of the back here first, right? Spikes back here, Okay. And so the reason trying to do these overlaps, like, you know, we're looking at the front this way, and so things would go off behind it or something. I'm trying to shift this around a little bit. So you guys get used to taking those basic shapes and just changing the order for which way you would be looking at this guy. Okay, maybe one more this time. I think you know what? I put the head down here. You can see I'm starting to change the form of the head. I'm starting to give it a little bit. Point here, right. You know, um and you know what I can do from this point? Just go. Something like that. right. Maybe this is the form that I want to take sole throw in my rib cage here and I'll throw in the hip here, right? And I'm thinking, you know, he's looking at some maybe drinking water or something, right? So the hip joints insertion there. The shoulder will be a little bit low. He will kind of be coming down like this. Maybe this one comes back and then comes forward a little bit. Uh, this one can come forward back and there, and maybe about the same something along those lines. Now, is it looking ugly? Yeah, I guess. But it's looking how I wanted to, and I didn't know I wanted it to look ugly, but it's kind of working, right? So what I want to do is actually come down. Let's see if I can back that out a little bit. There we go. Come down here and maybe do a little bit more details here just so you can see. So I like to do what's in front, and the first thing that's in front is this head, right? So he's kind of got this sloped look to it. A little bit of I'm going to see the other side to it. Right. Um, the jowl comes down, comes up into the neck here, this one comes up. Up over here, There is this big shoulder that's gonna come this way and then comes down into his foot. So this this comes over into the elbow, comes down into the foot, and my feet work especially rough. You know, I really wasn't trying to do them very well, right? So, you know, this part would be the the underbelly that comes over so I can kind of draw that through. And I can even kind of come the shoulders on either side here. Right? Come through the middle a little bit, Put this over. And then if I want to, I can come in kind of erase through it or whatever. This back leg is gonna be quite quite a large. Generally speaking, you know, he's got a big back leg. It comes down, there's the knee part right. It's gonna come down. He's not that thin of a lower leg. It's gonna come down something along this line, right? And I made these ridiculous feet, but actually what they are is like theirs. three toes. And then there's these small little nails, I guess is the the only way to describe clause. I wouldn't really call them claws. You're not retractable. It'll let's go with nails. So I can, you know, have the wrinkles here. If I wanted at this point, I'm just roughly sketching room. This is gonna be planted down, and then it's gonna come up and the same thing. And you know what's gonna have those little nails on that side, right? We can draw on this other side here, this foots here, it's gonna come up and you're gonna find, because this is the we're looking at the inside the foot here in the outside, the outside might have the three visible little nails. Right. But the inside that 3rd 1 might be out there that we we might not be able to see. Right. Okay, so this will come up here and then this This tale will come off kind of drew it off screen here, and then when you could do is here's a semi center line, right? You can kind of plot on either side where these big plates would come up, right, and depending on how you want to draw the plates? There's it seems to me, the ones that have looked at they get bigger or taller as they get to the top here, but they shift a fair bit in their form. Right. So on this one roll on our side of this beast, we're gonna be drawing. You know what? They're they're fairly big, and then they start toe taper off as they go in the back room on the other side. You know, you can have something along those lines, right? That they're a little bit shorter because they're they're further away, right? Something like that. And so right now I'm just really roughing it in, Just trying to show you guys where you would be putting all these little pieces, right? There might be a little bump here, little bump. Hear something along those lines for him. So what I would do at this point is, I would then, you know, start plotting in the eye. No nostrils. Right. Start and then figuring out, you know, am I gonna open the mouth and stuff and figure out what I'm gonna do with this pose? I'm not gonna do it for this one because I think I spent a lot of time earlier in this unit talking about how to show some texturizing. Remember, I Let's see if we review a little bit we can show, especially on a crease line. But we can show these lines and then the cross texturizing that we were doing so we can show this and then some cross texturizing nice and easy renders with with just simple lines . Right camp. So, um, I think I'll leave Staggie here for now. I think he does what I wanted him to do. I think he looks like what we're trying to do. A big booty on, um, smaller rib cage and this elongated neck. I think I could now, looking at it, I think the head could shrink just a little bit and stretch the neck out just a little bit . But, you know, what do we do? We just keep practicing, right? So if you've got a dinosaur, let's say in a story you're trying to do, this is what you should be doing. Have you know, of course, you could look at some some other illustrations for it and try to hit poses and everything like that. Right? But just try to get those basic forms down and then try to turn them around. What would the dinosaur look like from the front from the side? 3/4 view looking up at it a little bit, right? How would that change the look of your dino and can? So that's what I want to actually. You know what I think I could have? He went even higher on this. There we go. Sorry. This is where you start noodling too much. You're like, Oh, no, I like this. And no, I should have switched this. And eventually you get past of what you are trying to do. And what I was trying to do was show you guys how to construct a stegosaurus. And by now, 20 minutes into this, I think you should be able to write. He points are remember, that head is very small. The rib cage is large, but the hips that hip section is massive. And then you get to throw these awesome massive plates on the back end of it, right with the spikes on the end. How cool are these spikes? Right. Show those spikes in there and just, you know, think of it like, almost like a rhino or an elephant. You know, when it comes to the feet as well, they're gonna be You gonna rough them in? Really simple. But they're gonna be so much basically, so simple like this, right? They're just gonna be these little nails on the end and stuff, and that's pretty much it. Right. Okay, guys, I hope this simplification helped, and I would love it if you send some stada sources my way. Have fun, guys. 18. Pteranodon: Hey, guys, I'm back and we're gonna draw a flying turkey. No. Okay. Might be a transit on. Might be a flying turkey. Seems the same to me. Uh, I don't know why, but the's bird things kind of annoy me. They are cool to draw those. Like, I got to say, like, there's some really cool stuff that we're gonna go over, so I like it, But just weird looking. I have a sense of I lived during their time. They would scare me, annoy me. I don't know. Okay, so what we normally do, we go to the blue, right? I look for basic structures, and the thing about this guy is the basic structure is gonna be kind of weird depending on how we're looking at, because the wings just jump into things so so much. Right. So let's see what we take a look at this shot first. Okay. What I would do is it's almost human, like we can have this kind of little rib cage, a little hip, a shoulder and a shoulder. Kim, it's gonna come down to an elbow. This is where it gets kind of wonky because there's some folds in it comes down to an elbow and then comes down to a wrist, comes down to a wrist. This one's got a weird full to it. I wonder why I drew that in there. Sometimes it's artistic license, but I'm not loving that. And then we've got the what looks like three clause, right? It's not, and I'll explain that in a minute. From here we go from the hip down to a knee down Tony down to an ankle ankle. 1234 inside, 234 Then we can come and get our center line up here. Like I said, Weaken, this is if you're taking my human anatomy course, this should be looking really familiar said. We got a long get a neck, the head up here with this beak sticking out of it type of thing, right, and then a secondary corn. I kind of like this. Actually, this is the one thing I really like about their design is this kind of conehead type of thing. That little thing that comes up there. OK, listen, this isn't complete, but let's leave it there for now because there's something going on with one of the fingers . So we're gonna come over here, not here. We're gonna come up here and look at the same thing. We've got a shoulder, a shoulder, and we're kind of looking at a bit of the top of the torso as it comes down. And then the hip could be drawn through and it's behind. Everything will come down to the knee, come down to the knee, ankle, ankle, little feet trim, and we're gonna come up gonna have the head. We can have the beak type of thing coming back. And then the the head cone, the cone head paper thing going off from That's not what I wanted to focus on. What I wanted to show you was elbow, elbow, wrist, wrist hand. 123 And then there's a long finger like that comes off the side. 123 and then there's a long finger that comes off the side, and that's what I was talking about. That really long digit that comes off to the side there. So it actually this one here is actually a digit that can fold up and is kind of like he can manipulate, move and stuff, right? So really weird. These guys air strange crime. Then what's kind of cool is you could think of it like their their gliders. Right. So they've got these big, huge sales that are kind of coming in from underneath there. It comes way from that digit in here. You can think of it kind of coming from a little bit of the back of the leg somewhat. They attached a little bit to the back leg, but there's actually this is often there's this little tail fin down here. Okay, let's try it again from the side. And don't worry, we're gonna re sketch all these room. What do you want to start on? Torso? Sure. Imagine this is a rib cage. Tiny little hips. Right. Come down to the knee, down to the ankle foot down to the knee, down to the ankle. Foot. Right shoulder. Here. There's gonna be one on either side. If we're drawing through, is can come up to an elbow and back to the hand. And then the little claws, the 123 and then that One digit that comes way back. Okay? And listen, if this is going way too fast, slow it down. We can slow it down here and we just go. Here's the torso. Here is the shoulder. Here's the hip out of the hip. We can have this one coming back for one leg coming down to a foot. This one coming forward for one late. Coming forward for a foot, Right? We can have it coming up for the eval. Back to the hand, the wrist in the hand and then back again for that one digit. And then what do we do? Well, we know there's gonna be a neck coming up this way. Right? We know we're gonna have the head. We're gonna have some type of cone for the beak, and we're also gonna have some tape of cone for the top of the head. So that's what we've got here. We've got this. We've got this cone, but it's split. He's opening his mouth, and this one isn't exactly a cone. It actually comes back a little bit. It's got a bit of shape to it. All right, but if we look at what we've got here, well, this kind of work, because we've got this sale that's coming in, it's gonna attach to the back towards the back legs here. And just from this alone from this little sketch weaken, See what it is? It's some type of gliding dinosaur. Right? Listen, that's what you're trying to get at. When you approach a lot of these skeletons, you're looking at finding the base that's functional. And honestly, if you got a keen eye, it's also recognisable right out to an elbow, out to the hand, Uh, making just kind of come up here. And here's the head. They're actually it looks kind of ape, like, almost with extended arms. Right. And then we start to add in the beak, the conehead, The last digit that comes out this way. I guess I should back a little bit, comes out this way, and then we can, you know, have it come coming in. Something like that. Yeah. You know what? Even my little simplified skeletons here totally recognizable as a Tran. It all right? Yeah, I think it's pretty cool. This is what we're gonna practice. I want you to have practice. Let's see if we can do the torso. Little Chevron like this would be kind of like a rib cage here. You can We've got the shoulders on either side. We've got the hips below. They're not very big, right? You put a little circumference lines in there. We have one late coming down. Another late coming down into the foot, this one into the foot, then to an elbow and then down to the wrist and the hand to the elbow and then maybe down here to the wrist and hand. But there's this one digit. Imagine it like the pinky finger. But it's just a pinky finger. Really, really messed up. Right? Okay, so just flicking on back, flick it on, back up here. There we go. And then you could start to think. Okay, well, this sale kind of thing, like I think of it almost like a bat's wing, but a little bit more majestic or something like that. You know, how would it fold in between these points, right? Like it would be folding up. There'd be all these folds coming in, and just that right there is really funky looking. I'm digging how this is looking. So you know, you can have the head, and if you want to, you can even draw a line and then have the cone kind of coming off there. And then on the opposite end of that, you can have the cone coming off there. There we go. Okay. So I think we're getting a little bit of a handle on drawing skeleton so far, right. Like these simplified little looks from I think we should practice a few of them and see how it goes. I want to hit it from a few different angles, so bear with me income. It's gonna be rural. Simple. Let's see if we can get into it. Okay, so we're gonna have a little rib cage, right? And little hips. And I actually want this one to be looking kind of like we're looking at the belly. We're looking up on it, right. So there's going to be the center line, and then it's gonna come and the neck is reasonably long, right? And it's got this beaky thing going on, right? We got the shoulders, and then what I want to do, what I can do is actually plot the hands first, right? I could come to the elbow, come up there, come to the elbow, come up there. Okay. So I've got the little clause. 123123 Right. Ok, but now what about that pinky? Right. I think I might have run out on a room on this side, but I got lots of room on this side so I can have a come down like that. That's my pinky income. And you know what? Before I go on too far, because I know they kind of it kind of attach is down back your leg here and stuff again. I can just put little legs, little feet and he's flying. So the claws are gonna be Just hang in there. Now, this is gonna come in. It's gonna come down this way. So this will come in and it will come down this way. There we go. And that is our glider. Now, when you start to flush it in, you could start to put in, like, kind of veins and stuff like that. Um, I don't know. You want to get gnarly and put a tear and there or something, it would probably affect the the poor guy's flying ability. You can put in, like, a little bit like it could come like this, you know, put in a little bit of customization into the individuals from, um, it's going. How about something from kind of above sea years? Actually, I wanna I wanna back that a little bit. I want to do the rib cage is something like this and the hips just at the end. So I'm kind of thinking like the back is over top here, right? So I'm kind of going with the back over top and then maybe the head here, and actually, you know, he could be kind of looking down as if he's he's looking down towards some giant prehistoric fish or something. Right? So if this beak is going down, then this thing is coming up this way, right? Okay, that little conehead thing. So then I can add the shoulders on either side. I can, you know, put it out to ah, elbow, and then the hand, put it out to the elbow, and then the hand right back here. You know, we can have knees, little feet and again. This is obviously ridiculously rough, right? And then this is where the magic comes in. This big finger, right? I'm kind of drawn off the screen here. this big finger brings it out and then kind of comes in, comes in this way and it actually kind of like, seems to attach a little bit at the back. There is almost a tail that's comes this way, and then maybe I'm kind of getting off the the canvas here a little bit. But yeah, these guys are looking pretty functional, actually. Right? Yeah. Although I'm kind of messing up by running out a room, I should have probably drawn them a little smaller. I think that's my problem. You know, it's just for fun right now, all right? Just trying to get practiced down. So let's see this one kinda half under. Let's say he's flying away. So this is gonna be a but And so you know, I could draw the hip little joints late, coming out back into a foot. It's hanging, coming out back into a foot. It's hanging camp. Then there's gonna be the kind of rib cage type of thing. One shoulder is gonna be on this side. The other shoulder would be a little bit, you know, as if we're drawing through right? And so if this is the back than the neck can kind of come like this, You know, you want to flow in these kind of little itty bitty tail, it's gonna kind of flow and then have the head here something along those lines, right? And then this cone can come up that a way. Okay, so this is where if this makes sense, this is all, like the back of him and stuff. I got ripped. Now, we can do this a few ways, And this is what I really wanted to talk to you guys about in this is like, actually, you know what? I think I'm gonna copy this, but I'm gonna shrink it, Um, because I want to kind of play with it a little bit. And let's try a few different ones. I want to try a few different wing formations and stuff and see if we can how that might look right. So I'm kind of going drop these guys around here a little bit. Here we go. Okay. I don't know if I spread them out enough cause these wings are massive. Right. Um, this one will kind of go midline, you know, elbow hand. This one's gonna come back elbow hand up here, Right? And then this could be the pinky, and this can be the pinky. So then it kind of come in like this kind of flows in, and actually, it flows back into their camp. So this one would slide in this way and slide back that way. Okay, so those are a little bit up. Why don't we have this one way up elbow and elbow hand, right, Pinky, pinky. And this is me getting really like fun with it. Like I love just doing wings and stuff. So this will attach down here, and this will touch there. So that's a you know, Actually, I don't even know if he's Tranda Dons had it like a big wing flap or anything. They seem to be more gliders, but I still think it's fun to play with wings. Right? So the opposite would be, um, down to here, hand right. Maybe down to here, hand pinky something along these lines, right? And it would come in this way, and then this pinky comes down and that so you know, it's bad, like, in a way, but, um, the truth is, I don't think that they had these, they weren't big flyers, you know? So it's fun to go to this extreme. I wanted to show you you, like, almost 100% up in almost 100% down. But if we're staying true to the actual the model, they're more just there for gliding. You know, we all that we know about them as they would hang out on on these cliffs, grab the wind and kind of say, on down that said though they could fly. And if you want to fly, you gotta flap those wings. Right? So that's what I wanted to play around with today. Were all these wings? I think it's kind of cool. All right, so the take away is kind of like a real simplified bird. Big turkey, small person, type of look, right? With a ridiculously long pinky that makes the coolest, coolest wings. Okay, guys, I hope that was interesting for you. And I really do hope that Ah, well, I'm sketching along. You've printed out the Tran Adan or whichever dinosaur creature, whatever that we're working on and stuff, and that you're not only doing these blue sketches and stuff again, but that you're after you stop watching or you posit, you start to fill in some details. So you go back to the original reference and you say, OK, that's what it would look like, right? Like, I wanna go back here and now I want to kind of open it up, right? Like, what would this this look like if it was open? Well, right now, it just looks like he's opening and closing really quick. But I think you get my point time. I want you to be able to Once you get the skeleton down, go back at it and start to fill in details. Look at the details on this guy. You know, Look it. Ah, Let's see if I back this way a little bit. Um, you know, look at where the nostrils placed the eyes. He's He's just got this kind of, you know, this brow going on over here, and it's coming out the other side to and then the I is tucked behind it. The nostrils air probably on either side here a little bit. This beaky looking thing. Right. Um, you can play around a lot with this, okay? And just have fun. You know you could put Mr Little Claws on for grabbing on to fish or whatever and stuff. Right? We've got four feet. It there were four toes in the back, and then this one on the inside, right? Okay. Three in the front, plus the long pinky. Okay, I hope that was informative for you. I hope that Ah, I didn't insult your favorite dinosaur. Just in case you love the Tran it on. Right. But honestly, I think they're fun. I think they're they're fun toe to draw especially fun with, like this how they fold up their wings and stuff I get. They just They look scary. Maybe that's why I don't, like, have fun guys and keep practicing. 19. Velociraptor: Hey, guys, we're back, and we've got another dinosaur unit for you here. This time it's the velociraptor. I got to say, I you know, I love dinosaurs as a little kid and stuff, right? But it was always like the brontosaurus stegosaurus T Rex. Those types of ones that were kind of well known wasn't until Jurassic Park that this one was on anybody's radar. But how cool were they in that movie, right? Okay, Before we get into it too much, you know, we're gonna talk about the structure and practicing and those types of things, right? I wanted to point out a couple little things about the Velociraptor. One thing that I think is kind of cool. Are these these right here? These toes. Right. So he's got one digit, one digit, and then 1/3. That's kind of hooked up, right? And from my understanding, it's used for gripping into prey from digging into it. So we've got 12 and then this third, that's up. And then 1/4. That's actually on the back end there. That I think is pretty cool. It's hard to see from this side shot here, you know, it's kind of hooked up here, right? But I think that's a very distinctive feature. The other thing you know, we've talked about in different features and stuff again is how to draw scaling and stuff so you can go in and you could draw like the individual scales, like, this type of thing, right? And that Can you look kind of cool? What I would advise is don't do it over the whole body, do it in areas of emphasis or something. You know, you might wanna put it just in a few things. So what I'm basically doing is doing a little scale like this, right? But I'm making it really small here, so I'm just kind of putting some ticks for patterning. The other thing that you can do to mimic that is you can kind of do some some kind of basically a crotch at cross hatching style, right? Something along these lines, right. So it kind of doesn't even have to be so regular can be kind of irregular. And it gives a similar scaling effect that I can kind of flow. And you know what? This is much faster than doing those individual scales. It might not look as tight as as the individual ones do, but it can definitely have a cool vibe. Right. Okay, So if you pan out, does this one look so much cooler than this one? Maybe it's your choice as an artist. This is where you start to choose and say, Okay, well, this is the stylistic choice that I want. I want this amount of rendering this amount of detail compared to something else, right? Another thing about the velociraptor here is thes bottom legs. We can see how they're starting to really look like birds legs. They actually got the kind of coil tiling going on for a lot of it, right? So it very much reminds me off chicken legs down here. Okay, That's I think that's what I wanted to cover for some of the particular details of the velociraptor rendering. It's your choice. How, How much you want to do on that? You know you want to have these individual little, um, scales or do you want to have a bit of a cross hatching that seems toe work decently, but is a little bit faster. Okay, Now that we've got that down, why don't we go on to doing some of the normal things that we do for constructing a character or feature whatever it ISS from. OK, so nice and easy. We've got the hip weaken. See from the outline. This is roughly where it is room, and then we've got a rib cage that sits kind of like this. Okay, if I was to draw through this character back here, we would have the hip in the back and then the rib cage sitting up here. Now, listen, I know this gets a little messy, but I want you to think of, like, two spheres, balls, ovals, whatever you want and you can kind of interchange them, move them around, put one in front of the other. Right? Um, learning. Hopefully, your You've been practicing your circumference lines and stuff like that to be able to rotate them around to turn them, and that's what we're doing here. We're rotating. We're gonna be rotating a lot of these features. But this is the court. This is where we're going to start. We're going to start with these basic spheres squished spheres. Sometimes some of them are. So we've got the hips. We've got the the main rib cage and then a nice kind of rectangle for the head. Now you can see from the side It just looks like a rectangle. Basically right, A little bit of eating long, gated square from the front, it actually narrows. So here's the back of it. Lubin wider. And then the front of it would be a little narrower. The snout, Right. So we could carry it on back like that. Okay, so that's what I'm drawing here. Hopefully that reads pretty well. If it doesn't, when you can do is just kind of, you know, practice drawing, see through cubes or something like that that helps. So all of these basic forms, I really hope that, you know, you take the time to practice them, because once you get them down, you'll be able to really understand how to draw these characters. These creatures, these monsters, thes legends, whatever they are right in this case, the velociraptor. Okay, so we've got imploding and where the hip joint would go and where the shoulder insertion anstrom the hip would go down to a knee down to what would be the ankle. This is would be the hell if we're thinking of it like humans type of thing and this would be the foot. And then we've got the toes coming off of the foot with that one weird one inside, right? So let's see if we do this. The hip insertion is up here on both of these. It comes down to the knee, goes back to the ankle and comes down to the foot. So it comes out to the knee, goes back to the ankle and then comes down to the foot. See if I draw this beside me ankle foot. But as you're noticing, you know this foot is almost like a human foot, whereas in this section is kind of on a tip toe and the the toes would splay out from there . So this comes up and it's plays out, displays out, and this one hooks up this once plays out for the Manco displays out, and then this one hooks up, and then we've got that little rear number on the back there. Little Reardon up back there. So let's see if we practice this to side a little bit. That's the hip insertion down to the knee down to the ankle. It comes out to a foot with a little bit of a hell there. And we've got a maybe a tow a toe, and then that weird hook toe and a little one behind. This is a leg formation that you're really gonna have to get comfortable with. Most beasts. Animals. Um, they have this the whole, you know, the human hip. Me ankle heal. Foot toe formation is not as common unless you're drawing humanoid characters. Right. So keep that in mind, get really familiar with this quote unquote dogs. Lake came. Now the heat the tale is gonna come off has come going to come back, right? Thickets, tubular. It comes off the back end a little bit. It doesn't come straight off off of the run through it. Kind of you could think of it like the hip and then coming from the hip, it comes out right. So imagine it inserting here, coming out and then kind of coming back that away. All right, Why don't we drop it down and see if we can re draw this a little bit? We're gonna draw the hip. We're gonna draw the rib cage and I really do hope you're following along with me, right? We're going to draw. Oh, you know what? I didn't even insert the next year. The nick is kind of funny. I almost think it kind of comes up here and the Jets in. So you can kind of think of it coming up and judging in, we've got the rectangle there. We've got in the mid point for this. It can come back into a tail. Okay, We've got the insertion for the in the hip and the shoulder. They're going to come out into a knee back into a hell. Gonna have that little heel spur and then a foot, and then the toes coming off of that, this one is going to drop down to an elbow out to a wrist, the hand, and then the claws coming off. There's actually three. It's hard to see in that one there quite long, actually. And another thing I want you to get used to is drawing through. So, you know, on the other side of this, um, I know skeleton. There's another hip. If we're looking at the street on another hip insertion, another label that so you know, what we can do is kind of imagine it coming through like this, coming back like that. There's the hip. It comes down to the foot and then something like that, Right. And this other arm could be here up to here and then, you know, more. Hands out away. Right on this particular one up here. I just kind of drew it a little bit of flat just so we can understand some of the parts right coming over here. We're going to do the same thing. We're gonna draw the hip, we're gonna draw the torso that's in front of it. We're gonna draw the insertion for the hips. We're gonna draw the shoulder insertion. Okay? We can come down on these first and do the elbows, then come forward a little bit because there's some foreshortened going on here and we can draw the hand, you know, the wrist in the hand, and then we've got these gangly claws kind of hanging off their and you couldn't even get to, you know, make sure you come in here and do OK. We've got three knuckles that are coming out. We've got the the knuckle joints part way down. We've got the end of it. And then we've got the claws hanging off, right? So you can get into more points of articulation depending on how detailed you wanna be. Okay, um, Weaken, come here and drawn. E, come over here and draw. Knee, Go back, go back and draw that ankle. I'm gonna do this a little bit different. Have this foot coming this way, This foot coming this way. Although it's similar, but I want to splay it out this way, splay it out this way and have this weird funky toe coming here, right? It's already It's you know, we could have, like, a head here. Or, you know we can. We can start to move things around, right? I'm gonna do it the same as we've got it above here, though, just to be clear. So here's the front of the box. Here's the back of it. We can bring it up this way, begin that way, and then the next comes down, you know, it flows over the back and then back around and then the tail comes out right? Something along those lines. There we go. So what do we think hurry Semi comfortable with a velociraptor. You know what? I think the key is to keep practicing. Right? So we've already talked about rendering, but I want to practice on the skeleton more because I think those details can always be added. But, you know, you can't have a decent cake unless your foundation of the cake is really, really strong. Right? So we'll draw a few more here. Hips, torso. Um, why don't I applaud in the head? You know, you can start kind of where of you want, right? Like, um, you can start with the head you can start with. I'm having this guy look at us a little bit more, so I've got the shoulders here. I forgot the hip joints here. Um, this can come down to a knee, back to the ankle, the foot, and then the tow splay. Right. This could come a little bit forward, back to an ankle, the foot coming down, and then the tow display. And, you know, you can make sure you get that back. That back little hook and that funky, weird toe sticking out there, This one can come down to an elbow. I don't know what you think this 1 may be further, and it's kind of hanging down here to the hand. This one comes forward to the wrist, the hand, and then you can start to add in. You know, all those points of articulation in the claws from this neck is gonna come down. Come over, come over this way and maybe the tail can come up like this tail can come along those lines . There we go. That's looking pretty funky. This is what I want you to do. So I want you to be able to draw, you know, like, just easily the different pieces of it. Maybe we can actually have him looking up here, and then we can carry this tail out. You know what? We make him run. Yeah, this hip should be a little bit bigger, but we can have, uh, the foot back here. So how would I get there while Aiken go back to the knee? Back to the ankle? Here's the foot. Here's the clause. And then the other one is gonna be coming. I want the foot to be Maybe here, right? Or the toes. Right. So here's the foot. Well, then That means the knee would be here and it could come something like this, Right? So the foot coming down and then the claws coming this way. Here we go. It already looks like he's He's moving right. His hands tend to hang. So it comes back to the elbow, went up back to the elbow and up. And then we've got these claws going and maybe he's He's got a snout up in the air. He's kind of looking at something. He's crawling along. There we go. So he's kind of creeping along here, looking at what's happening, right? Um, maybe draw it from another perspective. I want to draw it from looking street down at it. So, you know, here's the hips, rump type of thing. Here's the torso. Here is gonna be the head. The head is gonna be here. So something along those lines. So he's looking. We're looking straight down at him, right? And he's looking it up up in us, So that means his neck is gonna be actually coming down this way, coming into the torso here. Right? So the shoulders would be here, Maybe hands down here, things hanging, and you could see how rough I put this in, right? Like when you're doing these little stick men drawings, you want to just really be roughing it out. Ah, the feet might be somewhere here with the claws, right that inside one, the knee would be here. So it's coming up to the knee back into the hip. You can kind of chase it back. Either way, you can come from the circle and come out to the feet or the hands or whatever it is. Or you can draw the feet first, like sometimes grounding them and then chasing them back into how they would fit right? And then So this comes down across and this tale comes out, maybe the top of the tail, Something like that, right? There we go. So now we're looking down at this beast trip. Some things about the head that I wanted to point out to you guys just a little bit is let's see if I can Ah, I see what I did there. You can see that. There's, um, this nice little ridge that goes over and then comes up for the I. So let's see if if I'm drawing this box here, right. This would be the top of the muzzle type of thing. He could come back back, and then we've got this kind of shape that comes over the eyes, right? The nostrils air in here, and then you can have the eyes in here and kind of shape them out. Okay with the lids. And, of course, he's got tons of teeth, you know, big mouth, lots of teeth going on Another thing that I would pay attention to his theme. Tendons that are attaching the teeth, the tongue that's coming out. You know, you could do all that kind of stuff, right? Okay, so we talked a little bit about the specific rendering, right? Choosing between a lot of scales or just this kind of cross hatching. And then we talk tons about the simplified Scalito system, right? Making note of how maney clause pose are coming off of each each foot or hand and how we might incorporate the head, the tail, all of those things as we start toe move around are simple shapes, putting one sphere in front of another right, and then easily starting to add things in something like that. Okay, guys, I hope that this velociraptor was interesting for you. I hope you learned even more about how to practice that dogleg and work on creature and specifically dinosaur drawings. I hope this is fun. And I want to see some of your practice shots. Send him off to me, guys.