How to Draw Muscle Bound Brutes for Comics | Robert Marzullo | Skillshare
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6 Lessons (38m)
    • 1. Introduction Video

    • 2. Drawing the Brutes - Proportions

    • 3. Creating a Suit Design for Our Character

    • 4. Rendering the Various Surfaces

    • 5. Drawing an Angled Pose of the Same Character

    • 6. Critiquing and Editing Your Own Work

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About This Class


In this class, you will learn how to draw this muscle-bound brute! Can't have comics without one of these dudes, right? We will talk more about proportions, anatomy, and design.

First, we will work off a traditional comic book hero type and then make adjustments to get the massive monster you see here. This can be a fun and informative exercise to understand the difference with character design.

After you get these proportions in place, practice drawing them in a variety of poses. It will help you to feel more comfortable with the subject at hand.

I hope you enjoy this class and I am here if you have any questions or recommendations for me!

Thank you for watching! 


Meet Your Teacher

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Robert Marzullo

Online instructor of Figure Drawing and Comic Art


I enjoy creating and sharing Video Content of my drawing process. I teach comic book illustration techniques, figure drawing, and digital painting. I use programs such as Adobe Photoshop CC, Clip Studio Paint, Procreate, and Sketchbook Pro 8.

I am the author/illustrator of the book, "Learn to Draw Action Heroes."

I have been teaching online for over 5 years now and love the ability to connect and teach artists all over the world. It is very exciting and rewarding!

See full profile

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1. Introduction Video: a lot of one. Welcome to my class on how to draw superheroes, muscle bound brutes. In this class, we're gonna talk about more proportion aspects and how to develop a muscle bound character off a standardized superhero form. So we're gonna really delve into why the different proportions have the effect that they do and how to really stretch your imagination and develop these big, gruesome characters. After that, we're going to refine the anatomy and introduce some suit designs. So now we're going to start really painting the picture of what this characters like. You know what his powers might be in the benefit of being able to draw in these suit designs that we can really practice rendering some different things. So as we progress these lessons, I want to show you moron shading and full development of these characters. So as we get into the rendering, I'm gonna show you how to shade the arms and make him look metallic, how to shade wrinkles and how to basically make the various surfaces stand out from one another and read properly. So hopefully you'll find this to be a very fun and informative class. I'd love to see what you come up with for your project file. As always. Keep drawn. Keep em fun and I will talk to assume. 2. Drawing the Brutes - Proportions: All right, So now, in this lesson, we're gonna talk about drawing big brutes and Bahamas characters, just those massive, kind of hulking superheroes that you get. Now, if you start with a basic pose, you kind of build up off of that and really get an idea for where to take it. Eso we're gonna start with that? Just gonna kind of start within eight heads or nine heads. Tall model, actually, four. Eight. Some room there were going to see how by starting with this that we can actually, uh, developed into the larger character just by having a base kind of foundation to work off. Let's make sure these air altogether. And I want these to be relatively straight. Um, so that as we built up on this, we keep some kind of feeling of symmetry going, so she's the edge of the paper there. Okay, so now let's take this softer. Race it back, and I'll just kind of a line of basic polls. And I'm just gonna keep this rough, because again, this is just a base mannequin to get us started. So I'm gonna put the head right about here, and I'm gonna go with standardized proportions, for the most part. So, um, bring the neck down to about halfway into the next head, and I found about the nipples air, usually right about the second head down. I'm just so on and so forth. And I just kind of skip passes since we've got other lessons already covering this. I don't want to be too redundant here. I bought just ah, just kind of get some basic shapes in place. Remember, you can use the lightning bolts there, The same for the arms. You know what? These shoulders to be nice and wide even on this character. So something like that. So now that we've got, you know, our primitive kind of shape of a character, I won't refined this too much, because again, we're just gonna take this right into drawing the other character. But I want to show you, by comparison, how we can adjust these proportions and really change the overall feeling, the presence that the character has on the page. So now let's move this over fighting. They're just want to draw this entirely out. Uh, something like that. Just, you know, an idea of where it's going. So it's going to bring this over now, like this, and we're gonna take this and modify it. Okay, so now what? This next part I want to take and distort this with Wise first. It's like that. I just don't want to show you how much you know you can really get just by adjusting the width of the character. And what ends up happening with this is you're gonna try to force more muscle into that same area, basically. So just like if you took the initial sketch to the left, you could really make that character look a multitude of ways just with the amount of muscle that you put on them. You know, bone structure and everything can be about the same. But then you can add there are a lot of muscle or a little muscle, or big upper buys smaller legs, things like that. So there's a lot that you can just do by comparison on. Then we're gonna just it even further by grabbing just segments of the body and adjusting those quite a bit. But first I want to show you the difference. We get here with just a wider character kind of filling this anatomy rather quickly. You go for the bigger muscles, slightly bigger hands, things like that, you see, just by the width of the character. He's already looking a lot more powerful. Um, I actually don't like the longer legs by comparison. That's that's something we're gonna change in the next rendition. But a lot of this can, Ah, you know, be subjective to your style on what you like to see. Maybe some people find the longer legs look more impressive. It's just up to you and and what you're after with your drunk. Of course, something like that will bring that chest down him further. It's worth thinking. See, quite a quite a bit of difference, just with that little bit of sketching eso. Now what we're gonna do is bring this over again, and we're now going to really change this and really try to push the presence of this character being very large, very powerful. First off, let's go ahead and adjust the legs down from a select. Just the legs here don't want to convince those down quite a bit. So this is gonna help really push the effect that the upper body mass is larger. With that, I'm gonna grab the entire upper body and increase that as well. So that's going to give the character no larger arms a lot larger chests. You see, it immediately changes. But look, now, I'm also gonna wide now the anatomy of the legs to help competent that. So let's say right about there. And I was just bring this down to me just like that. Lastly, I'm going to take the head and decrease the size of that even further. So generally, whenever you're trying to make a character look pretty big and powerful, definitely just very large, you can decrease the size that had generally obviously by relationship, the rest of the body will look a lot more massive. And I want to really widen out these legs, mainly because I'm thinking when designing this character, if there this large, if the legs don't look equally as powerful than they're just not gonna feel strong and they're they're gonna look like they can't really support all that upper body mass want really beef up the legs, even the feet make those a lot larger by comparison, because again, it just kind of makes sense with the the aspect of strength and even, you know, balance. You kind of think about all these things as you're designing it. Obviously, some of the rules you've been to break just because it's fun and you can do that with comics. But I think a lot of the drawings of characters that come out reasonably convincing have some basis off understanding to, you know, things like balance and proportions and things like that. Although you know this character proportions are wildly exaggerated, of course, but in a good way. Looks like he could definitely help you move your furniture. Okay, so now I'm gonna redraw over this one more time, and obviously the the other thing that's gonna immediately make this read better, I think comparatively, he'll already looks a lot more powerful Netherlands. But then, obviously the the last thing or the probably most impactful. But the easiest thing to do is just make the character larger, standing next home. So when drawing them in a scene, you could do that with any sort of props. You know, it could be cars, buildings, other people. Drawing them comparatively next to the character is obviously gonna make them a lot more visibly, noticeably larger s O. That would probably the last thing. And then I still want to push the presence of the arms a bit more. So I'm probably gonna make these a bit larger and a bit bigger hand just to really make him feel like a Goliath of a character, something like that. So I'm gonna go and refine this all time lapse, this next part, and I'll just clean this up and try toe detail the work a bit further. All right, so another based mannequin is drawn into place, and we could have fun with it and just draw in some of the anatomy. So this is just another way to check the work and refine it. I want to chisel out some of those muscles and show more direction. So, you know, obviously, with the base broad forms or place, you can kind of make it out. But it's almost like a little bit of a dreamscape. And you can't really see that far into it. So this is that next level of Okay. How far? Don't want the lakes look tilted out. Where does this muscle start? Where does it end You know, obviously studying anatomy just goes on and on and on, and you just you always have to improve your knowledge of that. But this is a great way to do it. If you take these steps to kind of build up on it, I think it becomes a lot easier to do. And then obviously, the more studies you do of each individual parts the body, the more this is gonna make sense and be easier for you to accomplish. And then once you have confidence with you, experiment more. Okay, so that gives us our massive character. And you see what those changes that we've made were able to get pretty sizable looking character with a lot of upper body mass and still pretty powerful legs. So now we can do is take this a step further and try to do some character development with this eso Let's head over to the next lesson and it wouldn't come up with 3. Creating a Suit Design for Our Character: Okay, so now that we've got this character laid out in the mannequin stage, let's go ahead and gear a mop and come up with some suit designs. I'm gonna do something kind of traditional just to keep it simple. We're gonna just give him some jeans and said, You know, genes, we're gonna do the wrinkles around the knees. They're on the ankles, and the rest is gonna be pretty tight. It's just, ah, one particular way to do it. You don't really want to give this character baggy jeans because they're so muscular and make a lot more sense that even if they could get in a change with you probably couldn't that they would just be, ah, relatively tight. So you want to show up all those muscles that you took the time to draw anyways, So jeans. We'll go ahead and do just a tank top on the character of just pretty easy to draw on. Obviously, just just like that, try to get the curves, make it look like it's rounding around the forms a little bit, but you don't have to be too overly critical about it. There's obviously a lot of different style choices that going to even something as simple is this. But we'll just kind of make it look like it's rounding around the forms. And then let's do something as simple is kind of some metal arms. So we'll say that. You know, his character's been enhanced and they've got these cool metal arms like a Cyclops or somebody. It's always a fun thing, and we just do that pretty easily with just some Ridgelines like this. And then we'll shade those like chrome so I can give us a nice little area to render. It's fun to do and past that. I don't know if we want to give him maybe Ah, um, a face mask of some kind. I'm thinking, maybe let's try something like, uh, like the US, if that looks good, trying to keep it pretty vague so it doesn't look like any specific characters. That's maybe I need to add more details to fight that. But, um, and then, you know, obviously get into some wrinkles across the muscles and also the shirts got a few wrinkles . Going across Quick Way will detail the wrinkles of the pants, and I'll show you a few more techniques there, and I'll be doing some lesson specifically on clothing, too. But a quick way to really do this is just kind of changed the profile a little bit, had these little bumps and then shade inward from those. So again, we're gonna detail that you'll see that more evident right here on the pants on. I don't know about shoes. I think we should add some things and they will just add a little bit of depth to the bottom. Make it look like soles of the shoes. And sure, whatever shoes will well say something with laces, I guess. I don't know if I like that bull. We'll go from there So it almost looks like he's in more of a plain attire. You know, he doesn't suit up other than the mask and, you know, arm enhancements, obviously part of them. We could even do some kind of trump ease up to the top. So it looks a little different. And there's no rule saying that these lions have to go straight across. They could even be anglert angular. Think I just made that word up, but something like this could change the designs. We might do that. I think that looks a little bit more fun and interesting. So Mabel will add that So you see, I'm keeping it very rough because at this point, I'm just designing the character. So I don't worry too much about, you know, trying to draw everything to perfection at this stage because I think that hinders the creative thinking of it. You just want a loosely sketch in these concepts. If you're working digital, you can also throw a layover top or, if you're working, traditionally, just use another piece of vellum or ah, paper over top of the light table, and you can really just kind of fly through ideas. That way. I'm almost one that throws some kind of chain around his neck to I think that would be kind of neat, maybe a dog link chain or something, just to give him a little bit more design. So he's not looking so boring there. Moon shape. It's got something to do with the character, whatever, but so yes, so that will be our design aspect of it. Maybe I'll keep playing around with this as I go, but so far that's about what I'm thinking Let's go ahead. And now take this and tighten up the work and kind of explain some of that. So we'll move this character over. I actually like to work on the left, salutes to this and soft to raise a redraw again and kind of tighten up some of these concepts. Okay, so now we're gonna go in time, lapse this next part. But what I want to do first is show you a few things before I get into that. So with the pattern that I'm going to do around the legs, just keep in mind. It's kind of this is exact pattern, and this part will be raised. This part will be incited or inside. I guess So what? You're kind of a visioning is a little bit of drop shadow into these and always think of. Ah, I don't know why, but lasagna Noodle holtz is something that comes to mind. These kind of bumps and these raises. Okay, so you gotta think about the depth and the recess of it. And that's really what I'm gonna do for this area. Likewise, if I decided to any wrinkles across a shirt, they're kind of like veins where I'll draw the wrinkle a shadow in the way that it reacts to the underlying, you know, anatomy if that shows through and then a highlight on the other side. So I just want you to be aware and as it pertains to the chrome we're gonna do in the arm will probably do something like this where I'll draw on a bulk of shadow, you segmented highlights to show the separation in the metal and then some other little kind of wispy lines next to it. So I just wanted it again. Be a little bit aware of the rendering style that I'm gonna use and then now we're gonna time lapses and tighten up this work and see if we can come up with 4. Rendering the Various Surfaces: all right. So now, to render out this character and a big part of what happens here is just shapes of shadows . So we're gonna also get into some more lessons where we talked just about shadows and rendering like you see me doing here. But you want to think about the shapes of the shadows. And when you study from life or maybe other comic art, whatever you gain inspiration from and how you learn best, you want to just kind of pay attention to a few things the shapes of shadows that you see traditionally under normal lighting scenarios. But then you want to kind of stylized that and add your own flair to it so you don't have to adhere entirely. Toe what's there? I think that, you know, you're gonna kind of hear me reiterate thes same lessons. But I think that when it comes to stylization choices, you have to put your own spin on it. But that comes from some sense of what's really there. So you do want to study from realism. You do want to pay attention to the way lighting works, but then you want to kind of mix it up and change it. But a big thing with comic shadows is lots of separation, lots of little highlights that air kind of mixed in. So you'll see us do that when we render out the arms here. But it's really kind of all throughout the character. You just want to make sure that it's not just all shadow, that you have these little tiny bits of separation, especially as it pertains to the line. Wait. So is your drawing through the character and you're finding the lines you're purposely leaving little line breaks to represent highlights, and it just gives more depth to the overall character in the field. So instead of having a tray store a solid line around every shape, you purposely break up. The line introduces more style and more highlights eso There's lots of ways where that really comes out nicely in your artwork, and you just have to think about that as you go. So you've got your line weight, which is thick that then and generally output a thicker line around curved surfaces. Always generally put a thicker line, if not a bigger shape, a shadow at the base or bottom, you know, light generally comes from the top unless there's a bounce light or secondary light source . So chrome the shadows will generally pull in word a little bit more because chromosome reflective, it's gonna catch both light, ambient, light, bounce, light all that. So it's going to have more highlights to the edges, but not necessarily true for are not always true for things like the shirt or cloth, where the light is more subdued and balanced. I guess it doesn't have these strong highlights and lets the shining material so shining materials we're gonna have, ah, stronger specific highlight on this. You know, you could learn this by things like still lifes where you take like, a bowl or something, a chrome mixing bowl. Set it up in different light sources in your studio and really pay attention to the way the light reacts off it. And thats gonna give you what you need for chrome on. Then likewise with close, take a shirt and drape it over the edge of your chair and pay attention to the way the folds occur. And again, if you're looking at what I'm doing now, you're probably seeing there's some flaws in the way that I do wrinkles and folds because I do just tend to stylized it based on what already know. But when I find myself getting a little bit too far out of that Rome and it just doesn't read well, it doesn't read well as a material that I'm looking to illustrate. Then I go back to what I'm saying to you, and that's, you know, throw a shirt on the ground, use different materials to use a sweatshirt, use a T shirt, pay attention to the way the folds occurred differently from the thicker materials, like a heavy blanket or whatever. Ah, curtain and pay attention also to the gravity pull of it s oh, you know, wherever the materials hanging from notice how those wrinkles air coming down from the point in which they're they're holding on to that and coming down with, you know, gravity. So paying attention a little. Things like that make a big difference, even with shoes. I look at it now and I'm like I really should have set up a pair of shoes off to the side. I would have got a better and result so reference could be really essential in that. But don't discount using your imagination as well. It's a It's a culmination of those things. Eso no with the chrome again, I use those segmented lines. One of the techniques I like to do here is draw right thrown. So I'm using a different layer again. If you're working, traditionally, you're gonna think about ah, white out pan. Maybe if you're drawing with Balham or translucency translucent paper than you'll work that way. But generally people will do what I'm doing here, and they'll come back with a white out pin or, ah, correction fluid, and they'll get those little highlights in there. But again, I use a layer. I draw right through it, and the reason I like that is because I'm focusing on one thing at a time. So I'm focusing on the entire shapes of those shadows that I want to see. I'm not trying to stop it each segment and then try to get it right, because it always seems to negatively affect the pattern that I'm going for. So I draw right through and I come back through with the highlight on the top edge of each segment, and it generally will read pretty well as a segmented metal. And then I'll do those little circles again with an eraser. So lots of ways to really implement this. In the other thing, I will say in closing with rendering a character like this is notice that I'm trying to shade each area differently. So the chroma shaded differently than the muscles, the muscles, or even a little bit different than the sure the shirts definitely different than the pants . I tried to just make sure each area is rendered differently so that it reads well. So I just don't put the same cross hatching technique, a rendering technique over the entire thing. So let her complete this part. Let's move on to the next. 5. Drawing an Angled Pose of the Same Character: So now I want to show you how to take this character on. Draw them in a bit of an angle shot, at least, you know, kind of the rough of it. So what I want explain here, is it You put all this work into the first kind of pose toe, understand the character. So this is character development, you know? Now you got some great reference for drawing this character, but obviously is a very boring polls, right? Very static, Very blase. It's just not very exciting, but all the information is there. So another good exercise is to do this with, you know, faces and characters. But you wanna take what's there and you want to try to, you know, expound upon it. It's OK. Uh, what if I just wanted this character standing at an angle for, you know, maybe they're part of a group shot or whatever, but they're kind of at an angle. And without even trying to draw the lines going from side to side, I'm just gonna use the reference it's there and we'll work down. So I don't really have to establish all my length as much generally what you might do is draw the spine. Get that curvature in there. Put a marketplace with lower pelvis. Uh, you know, do your your extensions of the arms. They go line this way. Kind of a circle for the elbow. Find back like this. Another little endpoint for the rest. Here, it's a bit low. Had a big fish down there. So try toe, get it in with the broad strokes. Basically, let's see. So this arm will bring up just what's not to playing. Jane, I'm gonna get the front of the chest, and I want to bring that out. Bo it back in, and I'm already thinking about where the middle of the belly is. So this is actually the chest right here, line going across. And then this arm will be out. Come back like this and doing some kind of hand Pulls like a salute or something like that . Kind of looks like he'd be ex military, some. So now I'm going to do is just throwing these broad, you know, getting these broad forms, these broad strokes working big to small, and I'm not seeing the curvature I want in the polls, yet it's not, uh, is Ah, energetic cause I wanted to be Somebody tilted back a little bit right here. Bring that stern amount. Really haven't bought that chest on. Then get a nice thin waist. So we have to kind of imagine how these shapes are gonna look differently from this other angle. And thats why this exercise is so important because, you know, we can all probably get away with drawing one or two great front shots or side shots or whatever, But until you really start to explore how to make these characters take on life and do a variety of poses, you're just gonna feel under accomplished. You're not gonna feel like you could tell a good story. And that's what it's all about unless you're just doing pin ups and I guess you could draw whatever you want. But at some point, you know, the better you get, people are gonna start asking you to ah to ah draw stories for him. And that means being able to draw these characters in a multitude of ways. Eso Now what I'm gonna do is get these legs and I probably jumped the gun a little bit there. What they I always seem to notice here with an angled shop, it seems to look better if you bring our most instances. Anyways, bring this like, keep all this information kind of straight like this. This and then bring this like back looks a bit more energetic for standing poles. And remember, the feet never go the same way. I always look silly. It almost looks like the character's gonna fall over. He knows. Even on the front shot, I tilted them outward. But on an angled shot like this, you're gonna see it even more so one foot can be profile and one could be almost coming out towards camera. And then I'm gonna need to adjust the proportions about you seeing at the sternum. Ah, lot lower. Here are the rib cage or bring that chest up. Thus, bring that gauge up, which this is a floating area of the body anyway, especially for a big guy, because the more they stick their chest out, the more this concious ift. Uh, when they're more relaxed, the abdomen muscles are gonna go up and pretty much bumped against the chest. So it's really this floats and or extends out and bag. It's stomach muscles in again. Kind of the broad shapes. Big forms. Uh, I'll just lightly sketched a sin and get the idea going and have him pointing his head towards camera. Another quick tip here is if you ever want opposed to look a bit more interesting, make sure the head, the sternum or upper abdomen in the pelvis are all slightly different and tilt and orientation from one another. I always give you a bit more life to the character. That's why this character that so static just doesn't not that impressive. But I didn't want to start teaching you that. First, we need to get the base proportions in place in the base forward back. You know, on the other lessons is, you know, primitive set up that you need to learn so that when you start to draw this again, it makes more sense because you have these reference points. You're not just working off Thea Scary blank white canvas. You know, you've got some, uh, some fundamental knowledge to work with, really making sure to make sure it has a nice and small, because again, it just makes the body look ah, lot more massive. So here. We gotta work off what we know about anatomy. And ah, again, this takes a while to figure out, but things like the bicep where it peaks up where it bends over. Keep in mind this is a combination of what I like to see style wise. I'm not looking at any reference right now, but if I was good references bodybuilders, Um now, in a way that I want to make sure I make sure touch on this topic as I go. Bodybuilders are great to look at for learning the anatomy, but not for the poses. So you good thing about reference. Not adhering to it too tightly is one thing you gotta think about. The other thing is that you're never gonna get everything you need from one reference. So, for instance, I won't just look at bodybuilders pose definitely not the polls, because they're always just flexing and standing. You know, they're in a fully tensed scenario. You might get lucky after searching endlessly and Google for something. But that just is a total waste of time. What you want to do is instead learn toe. Look at oppose that. Maybe even you create on if you can't or maybe you find a great polls. But then you know Okay, that's my polls. But I want the anatomy of this. You know, you have Steve Fighter box or whoever whoever's got the chiselled anatomy or looking for for reference. And then even that you could say, OK, I've got that. I've got that. But I need the clothes from this other shot. So you got to really learn to kind of combine these to get what you're looking for. Once you start doing that, you really, uh, look at reference entirely different. You don't start to think about finding just the right reference, which is just mind numbing. Instead, you start to acquire a bunch of different pieces that you can pull together on. That, coupled with your imagination and style, makes a huge difference. You just the doors really start to open up. You know, again, with confidence will come experimentation and a certain free, creative freedom in your work that will attract more people that will just look at it and see this person's really having fun with this. They're not so hung up on, you know, trying to get just the right arm, or I don't know it just a certain Evan flow that you'll start to create within your work, because again, you'll start having more fun because you're not stressing out over it. Basically. So, yes. So you see the hand small here, so I'll keep adjusting things. But right now, I'm just working on trying to get oppose that I like, And I also always tilting things. So, you know, the hands obviously have a huge range of movement, so don't just always settle on the first thing. Your sketch. That's why I keep the sketch rough. I keep it energetic. I want to really experiment. Wanna move things around? You could see it does look a little bit different proportions, but I think that's okay. It probably take the latte back to where it waas. I think it started higher here. You know, you're probably going to see a little bit of a glute right there. Don't be afraid to draw the glutes there there, folks. And who knows? You start trying to place the anatomy, but I'm really not even that stage. Um, you see, I start to draw that in because I'm just checking it as I go, but I really just want the polls. I want to make sure this pose is going to look about like the same character. Now, after we detail it, it's obviously really going to start to look like the same character. And remember that these little trim lines, we're gonna get more to close later. But these little trim lines are great clothing. Landmarks are fantastic because they really help to direct the rest of the anatomy and the it actually helps you check your work so you'll start to draw this in and go. Oh, wow, The chest muscles aren't where I thought they were in comparison to the clothing knows I gotta fix that on one last thing I want to leave you with. We'll do one more quick lesson, actually. Want to talk to you now about taking this first sketch and really studying it and like trying to fix things that I see wrong with it, cause that's another part of your growth, that you want to constantly evaluate your own work and be your own worst critic. In a sense, eso Let's go and take a look at that move onto the next lesson 6. Critiquing and Editing Your Own Work: So now what? I'd like to finish this section with this, just talking about editing the work and trying to get the most out of it. Now I want to first let you know that a lot of times you just want him edit your work as you create new work. It's gonna save you a lot of time and stress and energy. But you also have to remember if there's just ways you can make it better and you see those flaws in your work, Don't discount him. Don't ignore him. One of the reasons being as you start to work more professionally, you're gonna have to make at it. So it's good that you start to spot flaws in your work by yourself and you challenge yourself to make those edits. So if I had to look at this objectively, I could really dig into this. But I'm gonna say things like the wrinkles on the pants here that the definition of the me in the front of the leg seems more of a distraction than anything. So I'm just gonna get that right out of there, try to leave the wrinkles, but just kind of perceived that as they come to the front of Les, it's gonna get a bit more rounded and less definition. So sometimes simplicity is, you know, just better. It looks cleaner. Eso We gotta be careful that when we're rendering that we don't just overdo it because it's , you know, maybe it's fun for you to render. I actually love rendering, so it's really easy for me to go overboard with it like I've done here. The other thing is spotting distractions like I tried to do these cool highlights on the head and the cheek. And the more I look at, it just feels like a distraction. So I'm gonna draw back over that, make it a lot smaller, get rid of the one on the cheek and just you know, I'm going for a flat material, like a cotton mask or something like that. So I really don't need those highlights. Now keep in mind if you're gonna color it or you're working with the colors, they could easily subdue that by using like a dark, bluish black color. Still getting a little bit of that highlight but really pushing it back. So there are ways to fix things like that in that regard as well. The other thing that I really like, I think I've already mentioned I don't like the shoes. I should have looked at some reference for that. Uh, so I don't entirely do a redraw. I could try changing the silhouette, maybe some detail here and there to the tread of the shoes because you're just going to see that more on the side in the back than anything. And I guess I don't like the laces, so let's just get that right out of there. Now, this is another opportunity for me to say This is it. Basically, when you get to a point in your work, we're spotting things. You're like, It just doesn't look right and maybe redrew it a couple times. Then look at reference, study it and do a series of studies like we're gonna talk a lot about that in future lessons where I do a lot of isolated studies. So when I'm trying to get better arms, I'll drop pages and pages of just arms, and that's something I probably need to do is choose. Now the thing is, with feet and shoes, we can really easily hide him. A lot of the artwork that you'll see looks like this, and people do it on purpose because it makes the characters look bigger. It's easier to draw things like that, but But really, you can't always hide the feet right? So you gotta work on things like this. So for me, I would say What would probably look better on a character like this is maybe just a buckle or something. Try that. But again, if I can't get it right and I don't feel like it's looking as good as it could, that means it's time to do those studies. And I'll fill up pages of just shoes in different angles so that I get a verbal confidence of how to turn this on the page and make sense of it on. Remember, to this again was simplifying. So if I'm looking to draw like this, strap over the top with a buckle, I don't need to draw it in extreme detail to make it read. So I want to just get in things like a highlight around the edge and maybe the fill the rest then, and I can actually fix us up a bit better. when I think it, of course, something like that. Keep it very simple. I am in a cheat here just cause it's quicker. I can just take this because I'll tell you another thing about illustrating comics. Do not be afraid of shortcuts. You know, there's times you want to improve your ability, Uh, just draw for the sake of drawing so that you know, you're getting better at something and there's times that you just want a save time. So just be aware that it's ah, I know a lot of people frown upon things like moving things around, flipping them. Uh, I've met lots of pretty big wig artists that use lots of tricks. It, uh, you know, a lot of people don't assume that are done. They just see the end result. One thing you'll see in a lot of comics is reuse were using backgrounds. If you pay attention, there's a lot of reused backgrounds. So in any way, hopefully this is explained a thing or two again, be your worst critic, beat the other people to the punch. That way, you can really start to spot this stuff, get the most out of your work But again, I want to leave you with the thought of improved as you go. Don't lose momentum. And don't bog yourself down with some idea perfection. Just keep making good art and get better through that process. So that will complete these lessons on drawing the big brutes. Now we're gonna move on to the next section where we draw a variety of character types. We're gonna keep it more rough, like the blue Line sketch that you see here but that will allow us to really experiment with proportions, a lot of different character types and really stretched the bounds of imagination. And then we'll get into some dynamic comic book poses with four shortening and all that fun stuff, so I hope you'll join me. Let's move on.