How-To-Draw Using Reference Photos | Earl Crump II | Skillshare

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How-To-Draw Using Reference Photos

teacher avatar Earl Crump II, Let's have some fun!

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

3 Lessons (1h 14m)
    • 1. Using References: Intro

    • 2. Using References: Lesson 1_Tracing

    • 3. Using References: Lesson 2_Observations

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About This Class

Need a good pose for your characters but having a hard time with human anatomy? You're not alone. Many beginner artist struggle with anatomy, so this class will show you how to take a real photo (even if the image quality is poor) and use it as a reference to bring your personal characters to life! No real skill required!

We will start with tracing a reference photo, then we'll try to observe it and see how good we can get by drawing what we see and making it our own.

For these lessons I will be using the SketchClub app (available in app store) and an iPad Pro.  

This class will have more lessons uploaded weekly. 

Meet Your Teacher

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Earl Crump II

Let's have some fun!


Hi! I'm Earl, but you can call me E.J. I currently reside in St Louis but lived in both Texas and Michigan for most of my life. I love art and I've always had a passion for teaching children and beginner artists. I've illustrated children's books, produced fan art posters for fans and a whole lot more. While some consider art a spare-time hobby, others see it as an opportunity to apply that talent into a career. Either way, you'll learn the basics here. No experience needed. No judgments are made. We're all here to learn and to have fun!

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1. Using References: Intro: Hey, guys was going on today. We're gonna learn how to draw using reference photos. If you've never drawn before, you kind of want to learn how to draw this A big class for you. What we're gonna be doing is I'm gonna take a low resolution picture and we're going to draw it. Trace it until we get the image that we want So we could make her own characters. Let's get started. 2. Using References: Lesson 1_Tracing: they will. Sub guys. So today we are going to be drawing a picture. Um, As you can see, I have this woman here, and the quality of the picture is really bad. Okay, is very pixelated. But that's okay. The point of this picture is because we're going to make our own cartoon. But we're just going to use her pose, and we may even use their here. We're going to switch it up, but this is how you do it. So I'm looking at this picture. I want to draw my own. I don't want to focus too much on how pixelated it is. So I'm gonna zoom out a little bit. I'm going to go to her layer, and I'm going to bring the opacity down to maybe, like, 40. I'm going to my new layer or the tools. Make sure your brushes selected, and then you want to go to your sketch brush. So I'm going to bring my size up. So about 20 2025 bring my opacity down till about team. So that means that there's a darkness is not gonna be too dark, so it's still gonna be pencil ish. So we're gonna do is let's start with the shape of the head. Right. So we're going draw this circle here, and then what? And then you have the center line, and then you have I lie, and then you have the nose just gonna be a circle. And then you kind of have like this. What is their happy face when we removed the picture underneath? This is kind of what it looks like. It looks a little cheesy, but that's okay. This is part of the process. So then we're gonna add Now, look where the middle of the neck is, right? The middle of the neck is here. Not here. Okay? And then we're gonna add shoulder are on both sides, shoulder are and then we're gonna add her chest piece. So which we connect this? I'm not, like a rectangle way connect shoulder to shoulder, and then the front here of the body. And then we have her traps here, which actually does this because this is how the body actually looks. Okay, so let's move on with his original image. This is what we have so far. Okay, Now, let's bring her image back. This keeps catching. So now we're gonna add eyebrow, okay? And then we're going to just do some circles for the eyes. All right, then let's just add a circle for the mouth as well. Okay, So when we remove the main picture, this is kind of what this looks like. We're gonna build on this and I'll show you. Let me show you how so now that we have this picture here, before we start anything else, let's make sure that we correct his head. So let's bring me a passing of the original image down even further. And then let's go to the layer we just sketched and bring that one down a little bit, and then we're going to start a new layer. Go to your brush settings. Then you are going to bringing a pastie up to about 20 and bring the site the size of the burst down till about 15. All right, let's change the color. Let's go with Let's go like a raid. Since we're more, you know, that way it's a little more easier for you guys to see. So I want to go to this squiggly line here in order. Vertical. What? Vertical does. It allows me to make my pictures some metrical. Now the body is at an angle, so this tour won't work on their body at an angle, but it can broke on the head. So this will help you draw both sides and mix. It looks better than you sketching and just trying to make it look good, because when you flip, the image is gonna look terrible. So let's start in the inside. Let's start with an eye. So I'm only drawn one side of the body because my image is gonna have a cartoon. Look, I'm not gonna focus on detail, but I will give this little flares and I and then I will bring it out and I'm gonna close it. And then and I had our people just like that and then one at her eyebrow, just like that, and then her nose on just a little line, just like that on the mouth, just like that. Just a little lie. I got the bottom lip, which is a game part of a little circle that we made just like this. Okay, now let's do the shape of the face so way have her cheek area are mandibles. Draw. We just bring it right down to a nice little point. Remember that. This is making more of a cartoon version of this character. Okay, add that here. Now, the ear is going to go from the middle of her eye down to maybe like the nose with us where her nose is, right? That's what we're doing. You just kind of ad line here. And the air load, which looks like the number six. I decide. Okay, remember, we're doing a symmetrical, so we're focusing on the head, the shape of the head. So continue bringing ahead all way out. And this is how this should look when you're done. So now let's go back to remove the original image. Okay, so we got this red here. So far, so good. Okay. Got the original sketch here. Okay, So far, so good. So now we're going to keep this symmetrical, but we're not going to do this right now, so go back to none. And now you want to create another layer, okay? And this is what we're gonna do. The body. So you know what the neck is? Have the neck here. We'll make her neck. It's a little smaller, so I'm going to do her traps here next year. Okay, See the little line? Here's a neck here. Traps here, neck here, traps here, shoulder, you hear same thing, shoulder. Bring it down. So she does wear this little top. But let's focus right now, more so on her body shape. So we have their collarbone dip, this little dip here, go here. So this collar bone is separated the shoulder. So if I was to make my shoulders visible were like the muscles visible, this is what this would look like. Okay, Because you have that trap muscles on both sides. You have shoulder muscles here, right together, shoulder muscles. And then you'd have the area where her neck iss and these muscles connect. Right? That's how that looks. But we're not gonna go too deep into why that is. But that's where you get those lumpy like shapes from because those are muscles underneath . But we don't want to overpower because she's not the incredible Hulk. Right. Okay, so we're gonna do the arm here, and then way have a body here, top front of her breast, OK, And then I think this year. So this is what we have so far, right? Let's take away by the image of the bottom. Okay, this is what we have. That's okay. Let's keep going. So now that we have this, we are going to merge. The top layer will be just finished with the head layer. Right? The reason why did him separate. In case you were to make a mistake, you can always erase on. And you don't have a mess up what you did for the head. Okay, let's lower the a passage of his head here, red. And then let's start another later. Another's route. This new layer, Let's call this one. Uh, let's do believe. So now that we got this blue pencil here on this next layer, let's go in and let's add her. Um, that's at this blouse. This little top, she's weird. So he was sketching it in, right is going to cover her breast is gonna hang off for collarbone kind of low just like that. And because we're not focusing on detail, you can just kind of sketch all that in right here, because that's not gonna be relevant for this lesson. So we're not going to stress about it. But that's all this is right now. Let's go back and remove. The original layer will be got so far. Okay? It's pretty decent. Bring that originally your bet. Now let's look at this hair right. So we can also do the hearing Blue, but less to a new layer now, because I want to make this my own image. I'm going to exaggerate the hair. So what I'm gonna do is I'm going, Teoh, increase the size of my brush till about 33. Now I'm going to see how thick that IHS. So I'm making them more like locks on my image. So we'll make that kind of think here. And then I would do three of these, right? Just like this. Relax. This one is too. Then it's been way up here. Okay, That's one as to and that's three. He's in my locks here. Okay, Now I'm going to add the implied as if there are locks back here, right? Remember, this is our own picture. A man would do the same thing up here. I had a lock here. A lock here. I lock here, just the one behind it here for good measure. Okay, so now that we have this, where do we connect the hairline? Well, we already have this here with the one at the very corner of these three lakhs. Now, let's add the nice soft curve that goes from here to the to the red line on the head. Little doing on both sides. Just like that. Now, let's remove the original image. This is what we got. So far, so good. Right? Okay. So, technically, we no longer need the original image. So where he's gonna hide that completely Now, go ahead. Emerged the top layer, the blue one with the new blue in. Okay. And then you're going to merged the blue layer with the red layer and then take away that original sketch later. This is what you have, but it's okay. Bring it back. We're not done at a new layer. Synonymous new layer We are going to go with, like a dark grey. Not gonna do black go with a dark grade. Go back to our brush settings. Let's bring that brush down. So maybe, like let's 11. 12. Anywhere in that range is fine. And then you want to keep your a pass anywhere. It's that I choose to zoom in on this stage. You don't have to. I'm choosing to you just pinch zoom and it's just like that. So I want a new layer now because I'm gonna work on the face again. I want to make sure that I keep my face symmetrical. So remember how we did that? We went to that tool. It was a vertical. So even if I turn my image sideways, that vertical line will always be there. Ok, that is your friend who, when you're doing a picture and you want to keep us a metrical. So what I'm doing is I am adding her eyebrows in now because we're no longer tied down to the original image. We could kind of make this our own right. And then I'm going toe work on her eye now because she has this. You can add an eyelid here if you want. You don't have to, but you can. And then I have my pupil. And when you start to shake this in, don't darken the entire pupil. Just a shadow underneath the eyelid. You see how this looks when I'm doing. Trust me. Okay, so now way are going to do the mouth area. So we got the little curse of the mouth here. Just make this straight line. And then let's focus on the bottom lip here. Right? Let's give it a nice little, nice little shape, and then we're gonna make the top lip. It's a little dinner, okay? And I might even add a little bit of shadow toe. Just just sit there, differentiate to topple it from the bottom lip. Okay? Okay. The nose. We're not gonna really do too much detail with the knows. We're gonna keep it really simple. Okay? And now we're gonna just like you've been doing. Just trace over the ear, right? Trace over the here. She's not wearing earrings or anything. So this little step right here should be fairly simple. We're not do anything different. Everything else is pretty much already done. Okay? And that's it. We're not going over the whole head, just that area. So that way we can keep our picture. It's a metric is possible because her face is facing forward. Okay, so now you can take off that tool that vertical to will go back to none and start a new layer. That way, when we do the rest of this, if we make mistakes and we raised, we won't erase the face. So now what we're doing is we're just tracing over what we already have. Just kind of giving a little bit more form. So I'll be doing this isn't heavy detail. We're just keeping it simple. Now notice this area right here in this area where the strap is kind of pinching is doing the same thing here. Which is why you noticed the shoulder Looks like this here. Same thing. It looks like this'll in here. This is a pinch point. Okay? Purpose of pinch points is to give you an idea of exactly how the clothes are gonna pull on the skin. Even when it's a cartoon, you still want to give it a realistic element. So you want to make sure that you're not just a straight line, because then it doesn't give you that same element of realism. Now I'm going over this bench point and what am I noticing? That maybe even though this is a muscle here, it's kind of thick because the original picture was that thick. So we're gonna tone that down, like a whole lot, and then we're gonna just blend that into the next. Why? Because she's a woman. She should be softer. She shouldn't be too bold and strong and muscular because we still want this to look soft, right? Same thing underneath here. So we just kind of soften that up, Get the dress here. We're cleavages here, which wasn't really in the original picture, so we won't focus too much on it. And then we have the arm. Okay, so now let's go over the collarbone. Nothing different here would not. Reinventing the wheel with his tricks when we already have. All right. And then because her neck is her body is tournament and headed straight at the line here. So far, so good guys. So now we go to this layer, I'm at peace with it. Butts merged that down with the head layer and unless create a new layer. So on this new layer, we're going to the hair. So on the hair, I'm going to focus on these 1st 3 strands. Okay? On these 1st 3 lakhs remember them as being individual. So I'm here. Right? Even though I'm making these little jagged edges, it's still just one lock. Right. So this is my lot right here. Okay, this is my lot. So it was really just one kind of like a rectangle, and you just kind of bring it to a point. But don't close it off. Remember, you don't want close it off, Okay? See, saw them doing just one lakh here. So we doing just one lot? If it makes it easier to do this will do the next to super simple, so you can get a better idea of what I mean. So the tip you want ad circles to the tip? Okay. And then you want to just bring that here said It's almost like we're making these little tubes coming to a point. It's all these are right. And then way start to add a little form, a little shape. So I'm adding lines. But I'm not completely connecting the lines. Just enough to imply that there is a twist happening, right? Same thing here. Line here, lying here. Maybe just wouldn't go further. One on this opposite in right after it. A small one. That's it. So I have 12345 lines in this. But when you are more intentional, then you start to make it look like it could be a shape of something being twisted. Because then you have to make the things more around you round them off more, right? Because you're more intentional with shape. Okay, so we got those three. Now, let's add the ones in the back. So we had that one, right? And then we got number two, right three for, and then you're gonna put an X ray here. Now, this X is going to show us where we're going, toe, uh, dark in in all these all this open whitespace and then lists and forget her area around her hairline temples. Okay, so now we're going to the same thing here. Got one? Yes, to number. It doesn't have to be perfect. Three. Yeah. Four. So now that we have that, remember, we want to make sure we're intentional because we're going to create these little lines here. These little indents because as a silhouette, this is how we know that this is still part of her hair. So the silhouettes are very important out probably teacher with silhouette. And another lesson. But this is just some easy beginner tips to kind of help you take a picture and make it your own right. I'm not going to focus on the detail in their hair, because again, this is gonna be all blacked out. I just want to imply that this is the same lines that I'm making is the same thing it looks like on these 1st 3 Okay, just more so on the edges. Because once I start to add the black, all this is going to disappear. Anyway. You won't even see the lines. But you will see the shape from the outside and I'll show you what I mean. And then we give her that hairline. Here are temples. Okay, so this is what we're going to do. I want you to start a new layer. Well, actually, let's merge that down, start a new layer and then I want you to switch but raises Sisay a brush to about 40 40 okay? And bringing up past. It's maybe like 30. Let's just do it that way. Okay, so, everywhere where I have this X now, if you take your hand off off the stroke while you're stroking it was gonna happen is it's going to be darker. Everything you do at that point gonna be darker. So you want to just keep the same same stroke Pressure. Don't take your, uh you know, you hand off the brush, just brush all we now until you get this whole little area done. Okay, That is one. And then just barely underneath that first break, right? And then inside of that circle, don't take your hand off. Just do the same thing. Why am I doing it this way? Because the hair is behind. Like this. Last this last lock, the terrible on top. It's sitting behind the 2nd 1 so that means it's gonna have a little bit of shadow, A little bit of shadow right behind it. It's gonna have a little The 2nd 1 is gonna have a little bit of shadow behind the 1st 1 in the 1st 1 is gonna have us a little bit of shadow in the top. Now, this area back here Same thing. I never took my hand off the brush. All of this is gonna be black, right? I don't want to take my finger off. If I reap apply pressure, it's gonna get dark again. So I want to keep holding this pressure here. Just finished this here. Now I'm done. Now, if I were to go back and touched again see what I mean? It gets darker, which is not bad, right? So I'm going to go over it anyway. A second time. Just a kind of dark in in this area, right? This is why I'm being This is why I'm being intentional, right? Because remember, it's here. So it's okay if you need toe, do what you gotta do to make it look intentional. So I'm making them the lions. It's a little squiggly, J Okay, so this is what we have so far, right? So far so good. Okay, 25 minutes in. Everything looks great. Let's go ahead and merged down. And then if we were to remove the original sketch layer, this is what we have. And then if we go in and we have moved removed the blue, this is what we have. So it looks very basic. Very simple. Once we start adding color, everything will pop. But right now we're just working on how to utilize our sketches to just kind of make something halfway decent because all we're doing is creating something from nothing. So we're gonna We got rid of this original sketch layer, right? So we don't need that clear that we no longer need it. Let's just merge the black and the blue together. Okay? Let's march that down. We don't no longer need the girl anymore. So clear her layer and then skippered all these layers. Merged that down. So now I have just this one layer here. I'm bringing my screen, shrinking it right just so I can see my entire candidate. I'm selecting the layer transformed toe the image, right, cause there's only one layer is two layers the blank layer and then this image layer. So now I can kind of resize my picture, how I wanted where I want it. So this is called composition, right? So I'm saying Okay, you know what? I think this is pretty cool. I like what it is. What kind of center that that works. Okay, way. Wow. Wow, 3. Using References: Lesson 2_Observations: Hey, guys was going on. So today we're going to draw from reference again. Now, the first class we were working on tracing from reference. This time we're going to actually use more of an observation for the reference. So I kind of got this model off of the Internet. We're going to kind of sketch it, but we're still making our own characters. But I want to show you how to construct your own picture using the model. So let's start off with the hit, right? Just kind of thought that circle in here, right? Just draw very lightly. You don't want to draw heavy on the stage, right way, have a neck, and then we want to start with her body frame. You don't want to start drawing of body parts, because then that's the quickest way to kind of get lost. So let's start with the spine. Right? So your spine start from your neck and her body kind of has a slight bend in it, right? And then it balances out just like that, right? Like a nice little curve. So let's use this as we finish our picture. So, uh, right off the line here or a collarbone? Yes. We're gonna put her shoulders. I keep in mind. You can't see both shoulders, but we know that they're there. So we're gonna drop one arm here, straight down a little elbow straight down. Then we're gonna add that little little hand here like a triangle. Same thing on this hand. Gonna bring toe arm down, comes to the elbow, and then it comes out and then the hand for right here, Right, Little triangle. So now, way kind of got a good idea of her upper body frame. But what about her lower body friend? So look at the elbows. You see what the elbow is? This line here, that's what we're gonna start her waistline. Okay, so her waistline kind of comes at it right around where the elbows with the elbow joint is . So I'm a draw a line here that lets me know where the waste starts, like the belly button lying because nobody but will be here. And then I'm going to kind of draw like this. It's almost like a sphere, right? And then I'm going to bring it out. Okay, So this little area way here is how her lower body looks all right. And then you have her leg. Which one goes here? Yeah, one echoes straight down. So if you look at this, I fear that we may. Right? You also have You know what a stomach muscle is? So we traveled a stomach muscle up. That's kind of how it shapes right into front of the chairs. Right. So what we're gonna do is we're gonna use this as a guide. So we look at the curve of her waist, and then we're gonna neckers right up right up into that shoulder, and then just bring that line all the way down to the hip, right on into that leg. So now we have that side done. Let's try the other side. We got that low sphere from the waist. We start here, come out. No way about the breast yet. And we're just gonna go right. And so the shoulder, and then we come down to their waist to the hip. It was flesh that outside of that leg. Right. Okay, so now I kind of have a better idea of what we're going with this photo. So let's go ahead at the arm. So arm going to shoulders. Reason why I'm putting this year is because you're not gonna have this on the opposite side , right? Because that's where her breasts are going to be. But it's still good to put it there anyway, So you have a good idea of where the arms are. So for this arm, because we're making it more of a cartoonish. We still want to stay true to the body structure, but we're not making identical. So way have the bicep here. So we could make that like a cylinder. And then you have the forearm, which kind of comes out just a little bit to the wrist will make that, like a little cylinder. Okay, hands still the same. We had our fingers and stuff later. Same thing to the other side. Start with the cylinder of the forearm. All right. Do you really don't have too much to go on because this arm starts to disappear, So there you have it. Now, let's put this other leg in here. So we got the waist area, we have leg. Now we know that this lay it kind of comes out. So we're gonna make this one its own cylinder here. I see. Uh, okay, so far, so good. Calculus. A little thin. But that's OK, because I'm gonna show you a technique. So we're looking at the picture so far, we kind of like what we have. Let's connect the head to the body. So now we add neck way. Come right off here. Right up until the head way kind of shaped head just a little bit more. Everything is still sketch. Now, keep in mind this this whole sketch face, it's for one reason just for you to get an idea of how you want your picture to look, This is not something you don't want to go in making details because that's one of the quickest ways to throw you off from whatever it is you're trying to do. So now that I got this layer done, I kind of like the photo. I'm not really a huge fan. So what can I think is wrong with my picture? What doesn't seem wide enough? She's does. He doesn't have breast. She doesn't have fingers. That's that's okay. Let's widen the picture. So we hit the layer, transform tool, and then we're going toe stretch it. Okay, stretched a picture. Okay, so then let's go back to later transformed tour. Unless turn just a little bit. Just give a nice little angle. Okay? So now let's lower the capacity. Let's go to the next layer. I'm bringing it down. So maybe, like, 58. Okay, so now I'm going to my brush settings. I want to bring my capacity. It's maybe, like, 20 just to make a little darker, and then we'll bring my brush down till about 15. Okay, so now we're gonna trace over everything we just did. But you could make more edits in this phase. In fact, I'm going to use a blue color just to kind of give you more of a feel as to what this will look like. So I'm using a blue color for this next outline. Kind of a trace phase. So we know we have her head, right? So I'm using my shape of the head this way, and all I'm doing is just kind of cleaning up the head that I want to shape the face that I want. You see, just a simple in the head. That's it. I'm not adding eyes. I'm not adding any of that stuff. The neck. So the neck is here now. The picture. She has a way longer neck, not my photo. Why? It's my photo. I could have had her head tilted up more, which would expose more neck. This is your picture. If you wanted to have a long neck, not your cell phone. So I'm here bringing down the body. So here, where? The collar bonus. I'm gonna add that here, because remember, she's not really showing much of her right arm because off her breasts being there. So let's let's add the breast in the next phase. So we're gonna not We're gonna hide this side for now. Let's work on the other side of the body because I don't want you guys to get lost. So we worked on the shoulder. I see. So I'm not gonna trace the inside line. That was more of a guideline, because remember, this is just a sketch. So now I'm working on the outside of the arm, start with the wrist going back up. Uh, man. So So now I'm working on her back and this is that hip area right now. You could make you hit. You can make a more hippy if you need to. However you choose to do it is up to you. So because she's wearing underwear, I'm go ahead on the Put that in here in this photo just to kind of help me. So I'll make her legs a little thicker. I'm going to the waste on this side here. Okay, So this is what I have so far. I think I'm gonna bring her hip a little bit more on this. I like to make mine a little more exaggerated. Some go get mad, Racer tool way sees increased, you know, passive. You hear the race? That initial line so again, still is we're still not making perfect. We're just making a idea of creating a frame based on looking at a reference. Right? So now we can't avoid it. We happen to the breast area, but let's start this way. This is a good way to do breast. Based on this picture. You see this line that I'm making? This is kind of like the central line, right? If you were a man, we would just finished his line, make your chest and go from there. But that's not what we're gonna do. We gonna be more gentle, so we're going to create this line here, and then let's wrap the abdomen. Remember, her belly button is here. Right? So see that little s is kind of like a like a little s patter, That's what that's where that is. So now we know we got the stomach area in right of both. That is what we're gonna start the chest. So we're going to and you don't want just throwing circles. Right? So notice how the inside of the body is right. So here's an example. We have our waistline, right? Everything is built almost like what? Tangles. So this would be the inside. Okay, this is kind of like the inside same thing right here. This would be considered kind of like the inside. So if you were going to same thing for the neck, Same thing for the face, right? Based on whether faces, that's the inside of the face inside of the neck. This is the inside of the body. Even in our original sketch phase, this will be the inside of leg inside of the leg because it is you want to put the breast in here inside of this rather than having the breast way out here somewhere, because that's when you'll picture start looking just weird. So we know we have our line here. Okay, So let's start the breast from here and use this as our guide. Okay? So we don't want to brush to be too high. Remember now that we got this line here, we made the soco She just lying. That's already here. Bam! It already sorry. Their force. Same thing on this side. Hey, tonight we're not trying to go for a super huge way. Got here, See? And we don't have to cross that line. See that little central line, are we? Did we kind of made that soft line? We don't have to cross that line because everything is already there. Force. So we stick to that line, man, we bring out Were you here now? Because we can't see the arm on the side. We could kind of make where we want it to be, because we know that's where the inside of the breast goes. Right? So this is kind of how that looks. Bring the arm out. Get your wrist. Got your hand? Okay, so this is so really what we doing here is we're trying to get a good idea of the sketch that we want. And I did it in blue just to kind of give you an eye idea. Okay, Well, how do we correct this? How do we fix this? How do we make this? How do we make that? It's all part of It is all part of the process. You're going to drop things, and they're not gonna look right the first few times, but you keep sketching through. So now, like for this hand, for example, I'm ready to add their hand. Well, my initial picture, her hips wasn't even touching her hand, and her hands are open. So that's not a problem. This is my picture. So if I want to put her hands here already got what? Her hands are finger right? And then just kind of make a Lana where their hands go on this side over here. Same thing, fingers. That thing is because I make more of a cartoonish look, a lot of these feet. A lot of my fingers are not gonna have detailed toe that they're just not because I'm not really I don't really care a lot for a lot of detail, but you might. So when pictures like this kid, um confusing say Okay, well, I don't know if I like the hands. Okay, that's what Just hit backspace. You're right. All of them. If you want to make him make him fists, I'll show you how. Because I know fingers, fingers and toes could be really hard for newer artist. And I want to make sure that I don't do anything that you lost. So notice how I kind of got that sheep of the fish. Right? So I went though my dumb here first finger here. I thought that lie Bam! That might actually be easier for you do the same thing over here. So I got my phone, right? Bam, Just like that. So now you don't have the stress too much about hands. Little technique Top. You hope it helps. Okay, so another we got the breast in way. Still don't want them just looking like bumps. Right? So way we're gonna add a line, right? Cause remember, everything has a inside and an outside line. Okay? It works But now it looks like the breast. If we would add shake shading, it would look off right, So lets you race that one. But if we brought it here, it would make more sense. So even though we don't use the lines, you wanna have a good idea of where they are, because it definitely helps your image. Okay, so we're done with this layer. Let's bring the capacity down to 55. Go down to layer underneath that brain. I went down to 30 30. Whatever. And then you can take the top layer that you just made, and you're gonna emerge that down. So now we're going to create a new layer. Now, I want you to use rape. Okay, let's get a red color pencil size. Everything is the same. So let's put some eyes in so we know this is the eye line, right? So I want my character to kind of have eyes here, eyes here. Keep in mind I'm not really too much looking at the original image as much anymore because I got the form that I wanted, but I'm still going to use it. So the main center line, as you conceal. Initially it was off. But that's OK, because we're not committing to that. This just gives us an idea. And as you draw, you started to figure out how your picture's gonna look for you. So we'll make this highbrow here, make this eyebrow here knows here. So the face that she's seemed to be making is kind of like a down her face is in really smile. And she just kind of has a serious look. So I'll just use a little just like that. Nothing serious. We'll add the lips later. This is a good again. We're just built. We're building. We're building off a sketch. So don't worry about the details years, you don't see years in the picture. It was good to know where they are, but we're going to skip through that, right, because I want you guys to get an idea for the picture, right? It's not an anatomy class. This is just teaching you how to draw from what you're seeing, but make it your own style. So we know she has short hair. So bring her here. Here, Band straight line Top of the head gonna come from the top of the head bring it down here and they cut it just like that. So the front of her hair, because she has a lot of forehead showing the hair kind of drops here. So we'll bring this strange here And because I'm being dramatic, I'll even have maybe, like, a little strained kind of come out in front of the here. And then how kind of the same thing for this side just kind of have a little bit of hear, hear, just like that? So you don't want to get caught up in the details of the hair, because again, this is just plant were playing with sketch Rambo's Are we doing with playing with it? Get an idea for what? We want everything to sit, how we wanted to look. See you fight, for instance. I want to give it a little more here on the top of here. Well, I can't because I'm not committed. So what? I had already. So now I can take my eraser, go in. So I like the curve. No, take my brush and you just keep working it. You just keep working it until you get kind of look that you're going for? Okay, so now we got that. Now we're going to si. Hey, let's finish off the side of her face. Okay? The neck. Now, see, at this point, you should just be tracing what you already have, but we're just cleaning up what we have. So we know we got this strong collarbone here, but ours going to the shoulder. So we want to make sure we account for that, right? And then we have our fists. We have the breast. Now, when I'm doing the breast here, I don't want to draw the whole breast and trace over all of it. There's no need to because we already have that underlying image of what we were. We wanted it. So now we can just kind of be free a little bit here. Right collarbone, shoulder now on the shoulder. Give her a little bit of dip right around here. Four ill fist are fist. Now we're gonna work on her back, our hip area in the leg. Okay, so the image is kind of coming together a little bit more, so if you notice she is wearing clothes, we can add this in this step as well around her ab the bottom of her belly button. This area right here, you'll see. This is where the short step. Now, keep in mind the shorts are actually longer because our body is longer. I have made it short her. I made her next shorter. I made her body proportions shorter. So what I want to do is I want to account for that by bringing her by bringing that same dip for bottoms, bringing it just like that's kind of had a little wrap around. And then under here, which is chest area, and we'll do the same thing. Just bring it right around here. And then I like her shoulder. I don't want to hide that. So I'm a start her sleaze from, you know, about his red. I want to start her sleeves from way up here and bring it down this way. I see just like this, then. No way shirt here just to give it just a little cleavage in the picture again. It's not about making this picture perfect just about making it yours, right? Because, you know, a little wrinkles here. Same thing. Here you go. Have wrinkles here. And broncos here That's all wrinkles are. There is really not a lot of a lot of work. So you want toe make a little pool from the wrinkles here on the top of the shirt? That's it. So now, as we go in with, um, actually, let's add the lips while we're here, so you don't have to add, uh, big lips. You want to keep it, um, normal? You can If you decide. You do want to add lips. You can, because again, Like I said, this is your picture. You make your picture how you want it. So in my eyes, I definitely want her looking right. Okay, So now this is what we're gonna do now. We're gonna lower capacity down to less 1/5. Let's do it. Us to 70 70 ish. Go to the late underneath it. Bring that down to about 85 then let's merge. It was going on murders. Almost those layers down list at the nuclear now. Got a black go to your brush settings. Bring your pastie. It'll about 30. It was a 40. Whatever. And bring a brush size down till about 10. Right now. This is where your image starts to really take the shape that you want. For example, I'm a zoom in my pinches own for my eyebrows, Right. I make it my eyebrows thicker than I initially, I already had him, right. So that's what I'm a do, Making this a little thicker than we already had. And now I'm gonna do my eyelashes and my people, Uh, so are you doing? You're just going over what you've already done, huh? - So remember, we got this hair right, which you want to add a little more life to the root you can, Which means I'm gonna cheat the four Hail a bit more, but doing it this way. Mm, all right. And therefore that chin and I want to make my chain a little smaller than initially had it so cut. That was a little shorter. Which guess what makes my neck longer. So I'm doing now is just tracing. Now. These little areas, like for her shirt notices, lead these little lumps on making. This just gives you the shirt is a little more texture. Just a little more life. So it's not just steal, right? Same way around the breast area, just kind of give it because you want to count. There's a lump here, right? So this love means that I'm gonna have ah, like a like a e shape almost in that little area. Same thing, because you want to account for the fact that there's a bulls there, right? A little dip here again because their cartoons, it's not that big of a deal. But little things like that do matter. So a collarbone. So now what I'm doing is the opposite side of her here. So going here. Bam. Let's bring that other half over Now. Keep in mind we haven't had any shading way. Haven't done anything any of that yet. Okay? Right now are we doing is just getting a feel for the picture. So the red that we had, that's kind of where the cleavage will go, right? Because we're just tracing the red blue is kind. Always kind, like another guy. Lying c. So how that blue tricks with that black? But I'm not going all the way through. If I did, it would look like this. I don't want that. All right. I want the implied line. The implied line is there's something here, but it doesn't actually have to go all around, right? I don't have to do that in between for the last lines for the breast. But I could do the wrinkles, see? And then here on the corners, on the ends and then to the shoulder. Same thing on this side. So bring the image up a little bit. Moving around. Okay. Got back, Uh, can go wrinkles here. Now, go into the body. So I noticed this deal, this little just little deployed here. It's not super important, but it does help. All this is this lying that inside line, that's all I'm doing. But I remember it's more of an applied line, so I'm bringing it there. But that also lets me know where my hip, my hip in my waistline is right. Just to kind of give your body more shape. Okay, so here I want to still follow that same land on this side, but not too much. Not too much. Don't want to follow that too much. But you definitely want to make sure that it's their right, because this is how you know where the ab's go. Right? So we gotta have our lying, but We don't want a super dominant line, and then we want to stop this right around the belly button. And then let's fresh that leg out and again on this side here. Okay? So what are we doing now? The arm. So in the original picture, the arm wasn't all that visible, but we decided to go ahead and do it our own way that we're adding the hands, the fist. Remember that fist is bent. So that little line here just so you can imply that there's a fist here and same thing here . Cash price up, right? That's why that's That's why this line is here where the bicep goes. But there's also outline here that we're not making, but it's implied. So barely briefly. Just that line right there makes all the difference. I promise you. Okay. Got the wrist fist knuckles here, which you don't really need in detail first, and then give it just a little bump here. Bam! Connected right in. Okay, so this is what we kind of got so far. Okay? Not too shabby. Now we are going to add a little bit of color because I want to kind of keep it a sketch. Um, but I want to add a little color. So this what I want you to do, I want you to go to Let's merge down. Let's actually let's hire the other layer. When we hired the UN layer underneath it, this is what we have. Okay? You may want to keep that. You may want using me when a color over it. When you start to color over this, what you're going to end up doing is you're going to start refining the line, so I'm not. So as you see, it's still kind of like pencilled, and everything is kind of still grainy. The more you refine it, the more it kind of removes all of that. But I want you to bring this image back underneath it. This layer, the very last one. I want you to create a gray kind like a soft, grayish color. I'm going to zoom all the way out, and I'm going to select the biggest brush that I can find. And I'm going to just like this, right. Call it a whole thing in gray. You don't have to do great if you want to do because what we're doing is we're making more of a paper texture, like off white texture. See, that's one. Um, you see, this is another one, so yeah, this is another one. So, basically, what we're doing is I want to show you a difference in the contracts without necessarily going to in depth about it that we hope that picture look really good. So now go back to your top layer, and then I want you to No, actually, where we are now, just created create a new layer right there. We'll just do everything underneath. Thes thes two layers. I want you to go back to your brush. Your pencil brush. You want to bring this size out? So about 40 bringing capacity down to about 30 ish thing I want you to select thought the color white. So when we look at highlights, this this is kind of where you put your highlights in, right? Where is where is the light hitting your picture the most? Right. This is how you start to determine what just pictures gonna look like. By the time you get died. You just kind of feel filling in the light sources because of some car, too. You want to light sources to be consistent across the board. All right, I have most of the light over here on this side of the body if you're looking at the original image. So because of that, I want to make sure I keep her body parts glowing from that side. Now, we're not gonna do a ton of coloring, but I do think that is really good to get an idea of how to, um, play with shading and lighting just as a tip just to kind of bring a little more life to your photo. Just so it's not as plain and bland and black and wait. Okay. Same thing on this form. Over here leg. You're gonna have more mass. So you're gonna make that kind of bigger over here in the same thing here, Remember? We gotta got the highlight, remember? Because we got that line underneath. So breast area, same thing here across the board here way already know is gonna have um, now, maybe we don't have any shading. This is just highlights, right? These are just random highlights. Go to your blur tool, and then I want you to just kind of blur in everything that you just did. That little highlight and I want you to go in. I want you to blurt in the blood was one of the most important tools that you're gonna use when you're doing, like, shading and highlights because it does it, it blends. And that's what it does. Is the blur to was a really good blend, too. When you're playing with highlights and shadows that we is doesn't look overpowering It doesn't make you look, um, like you just threw some stuff down. It gives it a nice soft touch to your picture. So I'm not gonna play with shading because there's so many different levels of shading. But I did want to put the lighting out there. And as you look at the lighting based off the screen, the color we put behind it, you could get a better idea of exactly how this shadow should look. Way made mess with that later. I made you another lesson for that, but just give you an idea of what we're doing. So now you go back to your top layer. Let's merge it down, right? Everything merge down to the final layer Because now we want to play the composition. Go to your layer, transform tool. And then let's move it the way you want it. All right, So if you want her thicker, remember, just stretch it out wider. You want her taller? Just make her taller. You know, this is your This is your image to make, however you see fit. All right. And then once you get it the way you want it, just maximize it. Yeah, I put her here. Yeah, put it here. Right here on the bam. So now let's. So we have this layer, the very first layer. Go select that layer, create new layer. And then I want you to go over to your brush tools, and I want you to select a really, really thick brush. Just not not a really big, big, thick one. But like the density, you want to make sure that your passengers at 100 And then there's a little button right next to your um, but this election tour, Tory sees freehand lines. Circle Square. I'm going to shoot square. I already have everything on white. So now it's a marquee tool. Right? So this is why I'm going to kind of make like if I were to make a background. This is how I would do it. So you wanted to be a little symmetrical. You see what I'm saying? So this is kind of what this looks like once you make it kind of play with it and get it where you want it, but, um, I'll just do it. Uh, let's see here. Okay, I asked. Fine. It's just a sketch, anyway. OK, so now that we I kind of have an idea of where we want to put this it done. And guys, you go back to that tool called Back down towards That's freehand um, and then you go to I guess it's already white. So that's fine. Um, I'm using There's a big brush here. I'm gonna bring it down if you want a paint over all of this, like underneath followers. Keep in mind if I went across this whole picture, you still going to see your image? Right? But if you want to make it toe where you are, just kind of drawing around the picture just like there's get close to the white line as you can do that for the whole picture. You can do that as well. If you just want to just say you know what? I like my picture the way it is. Take your eraser tour and just seeing me get a capacity and 100 year, then just erased the white inside like this coming through on your image. That's how you got to do. Just like that. So now you've got this picture of his character. So that was simple. Something really easy. Really simple. Okay, way.