How to Draw a Dragon : Head | Enrique Plazola | Skillshare

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

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

Lessons in This Class

7 Lessons (1h 5m)
    • 1. Introduction

    • 2. Supplies

    • 3. Structure of Every Dragon Head

    • 4. 2 Ways to Generate Ideas

    • 5. Demonstration of Process

    • 6. Features of the Head

    • 7. Art Advice (bonus)

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About This Class

If you have never drawn, this is the program for you. I go over step by step on how to draw the head of a dragon. You can draw your own.  I take you through the entire process and give you exercises designed for you to understand. I make it as easy as possible. 

Here is what I go over. 

- Supplies I recommend

- Easy Structure to Drawing Any Dragon Head

- 2 Exercises to Help you Come Up with Ideas for your head

- A Demonstration of the Entire Process

- Features of the Dragon Head

- Art Advice (bonus)

Meet Your Teacher

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Enrique Plazola

Learn to Draw the Easy Way


I help beginner artists learn to draw as fast as they can. So you can draw that family portrait, or draw any character from your mind. 

I've worked as a fine artist, professional illustrator for book covers, worked at a movie studio as a stereo artist, as a caricature artist at theme parks, and more. I've been in literally hundreds of art shows. 

I've been teaching art for 6 years and I love it. I started to draw at 19. I felt it was a late age. It took me 2 years of training in drawing to start working and making a living from art. I want to teach YOU!





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1. Introduction: today, we're gonna go over how to draw dragons. At least the head. We're going from the neck up. There'll be another video for the body. But right now we're just doing neck up. Very important. And also, this is four beginners. I'm gonna take it step by step for beginners. So if you're never drawn anything in your whole life, this is a great program to do. I'm gonna go over it and break everything down the small, digestible chunks. So let's really quickly just jump into what? We're gonna go over. I'm gonna go over the first, all the supplies. What kind of art supplies do I recommend that you use? I am gonna take costs into account because you don't want spend a bunch of money up front. So I'm gonna say all the inexpensive stuff that I use, Uh, you know, that is good enough. Next, I'm gonna go over a very simple formula. A very simple structure for every almost every Dragon Head has this, like almost every single one. I'm gonna go over that structure and it's extremely easy to learn, even as a beginner. Then I'm gonna go over some concepts and how you kind of pull your ideas out and put them on paper and kind of two ways to do that. Then I'm gonna do a demonstration where I take one of those ideas and I show you how to take like, the one you like that you do and then carry it over to finish drawing. You're gonna watch me do the entire process you're gonna watch me do from idea all the way to finish process. Then in the very end, I'm gonna go over the features of the dragon with the horns. This, you know, scales the frills. That stuff is secondary. It's very cool. But that stuff is kind of icing on the cake. What really matters is the structure proportion, All this stuff toward the beginning. That's the most important stuff because you want to build your cool features onto a very solid platform, and that's pretty much it. At the very end, I'm gonna have some parting words for you. It's gonna be some art advice that you will like and enjoy. And that's kind of it. Dragons are amazing. They're cool. They're in every video game. They've been in every history book, right in every every culture, like the Chinese dragon. The medieval won the wiper. Uh, there's just just an amazing amazing It has been thons of movies, thons of movies, Right? And I'm gonna give you the structure How to do that, like a really, Really, Basically. So you can take it and do your own. That's kind of it. So if you're ready to start, let's just start right now. 2. Supplies: All right. So let's go over supplies really quick. I'm gonna go to the supplies, they use the ones I recommend, and then I'm mostly gonna go over maybe some alternatives in case you can't afford it or don't want to buy it wrapped the bat. But these are just stuff I recommend. And so lets start off from the bottom. Let's start out with pencils, pencil wise. When I sketch anything just from myself in terms of like I'm trying to get practiced in, I tend to use this. This is just a generic mechanical pencil. Any lead. It doesn't really matter if it's a relevant. I use that because it never loses a point at the edge. And I love that. I love not needing to sharpen my pencil a lot. That's a big thing, but in terms of proper drawing, I would use this. This is a drawing pencil drawing. Pencils tend not tohave. The race are on them. They come in sets and you can buy them individually. But I recommend buying like at least one set, and it gives you a kind of ah, a variety of different tonal values. They usually sell the sets and hard and soft. Hard is more for mechanical drawing, you know, buildings and things of that sort. And then soft is four organic stuff like we're gonna be doing today like a dragon is organic. You know, Humans, dragons, animals that stuff you to use the bees. They go from A to B three, b four, b five b. You know, go up to six. I forget what it goes up to. Eight b can't remember. Uh, but if you're only gonna use one of these, I recommend, like a 45 B, because it's a mid level value range, and you can get like, some very lights and some very darks with a 4 to 5 or six B on Those are the ones I recommend using if you're gonna use one or two. Otherwise, you could if you really have to use the number two pencil, what they have, you know, they used in school with the pink eraser. You could use that. That's actually in the same Siri's to be. I think it is a little bit too light for drawing, like in just that. But it's up to you. So I really do you recommend this for pencils. Eraser. Let's go that really quick. I use a needed the racer, which looks literally like a ball of clay. It's literally the best eraser I've ever used. I've never used the better eraser, so the idea is you could literally mold this thing like like a ball of clay, and you can erase in a very instrumental way. It also doesn't leave a stain on the paper the way a pinky racer would. Pinky race would leave this Really, Sometimes the pink and self will come on the paper, and that's not good. So I recommend that it's going kneaded eraser in their super cheap. I think for like $2 you can pick up like three or four really inexpensive, so I highly recommend that. But you can only get my art stores or Michael's or whatever is available in your area. So let's move on to the pens I'm gonna be using today and again These this is where it gets a little bit more complicated. So in terms of pens, I used these things called Faber. Castell is the Rent Faber Castell P. I. T t artist hen and what the's are are these air different sizes of kind of fountain pens essentially and they are incredibly durable. Incredibly, you can see it put down very beautiful lines. And they come in a variety of thicknesses to the points at which he comes in This thicknesses gigantic thickness, so thes come in a set as well. I get them usually from Michael's. But there are many, many, many choices for this. You don't need to use that. That brand you can use, uh, more popular brand, which is micron, which is pig MMA Pigna Micron. This was kind of dying, but pigment micron is the exact same thing. Pig MMA Micron actually is the most expensive from what I've seen, but it's also the most high quality. But in the beginning, you don't really need super high quality stuff, right? You can. You just use whatever you can and you're gonna have your likes and dislikes. But any sort of black, you know, marker pen, anything like that is really going to serve you very well. So just kind of look for any type of artist pens and they'll be good enough in all honesty , whatever the brand check him out, it will be good enough, but these are just the ones I choose. Like I said, I use favorite Castel. I use it a lot. Um, in terms of what we're gonna use today, I really would require you to lose at least 1 10 in that in that Syria's any pen that again puts down lines in this Really, like, found fun, pence style way any any artist would would work if you really have to. You could use I guess you can even use maybe like a regular found pen for writing if you have to. But, uh, anything I really need you to use today is ah, marker of any kind. Amusing this marker again in that series. But if you really have to, you can use the street up Sharpie because for the concepts and I'll tell you why we're gonna use them. But if you really badly well, this is a red Sharpie. But if you really, really have to use also, you can use this, which is, oddly enough, remarkably a good marker. Uh, this is a Crayola brand marker which seem silly, but it puts down some pretty good lines. I actually kind of recommend if you can't find anything else to use this for the concepts that we're gonna be going over, Uh, but that's kind of it for pens and markers. Like I said, that there's so many like, I recommend favorite Casto. But for this right now, let's say you just stumbled onto this video and you don't really have anything use any kind of pen. It could be a ballpoint, just used ballpoint. It's totally fun, but I would use a pen over a pencil and actually you could do. The exercises were about to do in pencil as well, as long as it's this kind of pencil, because the reason is I would like you to get on the on the side of it. I'd like for you to get on the side of for this particular Siri's. But yeah, that's pretty much it for utensils. Let's go for a paper really fast. This paper I'm working with is literally computer paper. It is, uh, 8.5 by 11. Computer paid for the same thing. You print stuff out. The reason I like it is because it's immensely inexpensive. It is so, so cheap and it's decent paper for practice and even for sketches. I recommend this kind of people is just so inexpensive. You don't need really expensive paper for that really expensive paper, for example, like Bristol board would be like for portrait's and things that you're going to save for years and years. Then, yes, I recommend getting, you know, artists paper, like sketch with paper. Bristol board. Bristol is the best. I think for me, if you want to a pencil drawing or any drawing like that, he wants to last. You're gonna hang it up, do bristol board. But if you're just gonna do a sketch for yourself toe learn and kind of saving your folder or something Pretty papers completely fine. And I also use, you know, this larger paper right behind it. This is the same printing paper except tabloid size. It is 11 by 17. I like using bigger paper sometimes, but that's it for supplies. Give any questions. You can post them to me. Uh, but that's pretty much all we're gonna do. So let's kind of jump into the next size. First exercise on it will be in the next video. I'm gonna go over there to start with a marker and I'll show you what I mean. 3. Structure of Every Dragon Head: Okay, so I'm gonna give you a very simple, uh, method to drawing a dragon head because 90% of them kind of fall into these things. Kind of categorical thing. With two boxes, you can draw two boxes to start the formation of any dragon head to do that, though. First, I'm gonna soon. You're a complete beginner. We're gonna go over how to draw the cube. So the cube is incredibly important because you want to get the structure, everything down. And the idea of getting structure down would be starting with simple shapes and then working into those simple shapes on if not understanding those simple shapes that an object is made up of two. Then draw it. And I'm gonna go with us right now. So I'm drawing this cube here. It's a long cube. Looks like a stick of butter. If you don't know how to draw Cube, if you really, really need to, you could do the old school way. They may be taught you in grade school where you do a square and then you put another square, maybe overlapping it right there. You connect these matching lines. What that's gonna do seem in that even the ones you're not to see well, that's gonna do is that's gonna help you start thinking in three D You start thinking of objects and three, because it's a big part of all art. All art is really thinking of objects in three D. It's almost like you have X ray vision, and it's not like you have to know every minute of it. But when you understand things in a three D space, you start to draw it in a way that makes more sense to the audience. And it looks more real. So let's just take this cube, for example. Let's try that again. But let's try that with to different size squares right now, I'm gonna connect them. And now that you look at it, it's that that back end is larger than the front end, right that back end large in the front end and that this will work for a head of a dragon, for example, like this starting point starting point for a forearm. It's your understanding things in three D to begin with. So if you don't know how to, you know, drop, you just assume you've never drawn I would assume that, But if you have great. But this will still help you. By the way, even if you have drawn, I would say start drawing cubes Without the aid of the square square method, I would start drawing cubes Freehand, and it'll you'll find yourself kind of auto adjusting to kind of where, where and what you know what what position they're at. But what this will do is this will start getting you to think in three D. And I'll tell you how this connects the dragon head in a minute. Like I said that, I mean, I kind of talked about it there, but because when I'm drawing the dragon head, I am literally just sticking two of these cubes together again. I'll go that in a minute here, Right? But you want to get this part down if you don't have this. If you don't have this down, do a page of cubes. You don't have to, like, stop everything for it. But I would say just, you know, stop right now due to like a page of cubes for yourself to get your mind working in that free space, and you could do like I said, different formations. So let's say, uh, it's front one is small went back on his large just like that other cute, bizarre but kind of fool around with it. Okay, so let's go into y it is connects directly into a dragon head. So the reason this connects right to the dragon headed because I used to always two boxes to cubes like that to start out every dragon head. So 95% of dragon heads, they are pretty much the same thing. There's the head portion of it. And then there is the snout. The snout is almost always separate. There are cases where the snout in the head are so scrunched together, of course, like a bulldog. But it's still there. So So let me give you this formation that always always do for dragon heads. So I got my cube here. It's like a long rectangular cube. It doesn't have to be any particular, you know, structure. And then what I do is I Starks. I'm gonna imagine these two boxes buddy up against each other, some putting the square here so that I know where it's going to start. And then I extruded from there. And I'm like, OK, where is this box going to go? Right? And then from this framework, I would start putting in organic shapes. I would start finding the I. You know how far on this side the I is? I would start kind of zygomatic arch. I would literally start with this. I would probably draw lighter, have during a darker to kind of show you. But this is either in my mind or I will literally draw it out for myself. I'm always always working with two boxes against each other, almost always. So let's take that same idea. And I'm looking down on these boxes. Another thing that's like a downward, slightly downward view, so that head would be aiming downward. But let's take the same idea it is. I'm drawing little bit sketch here. I'm thinking about it more so this one got a very long kind of area where the where the brain is, so the eyes would be over here, etcetera, and then the snout is shorter. It's not as much, much shorter, so tv examples of dragons. I mean, like how to train your dragon was a little bit different that he looked more like a snakehead. It was very, very different. But you could even take that and apply to Toothless. So I would I would just kind of I would always think about this shape. This shape is like 90% of when I start drawing a dragon, it 90% and you can drop from the side as well. Let's drop from the side to make it simpler, right? Because a lot of these you're gonna drop profile because Dragon has so long that it could be just a lot simpler to work with it. Improve flower I would do these two boxes, is there? I come up with ideas. I'll think of the proportions, right, Cause proportions, everything. And this is also facing that way. So when I when I think about so if the eyes are over here, let's just draw a little car tonight. You have ever so we know we're looking at vaguely like again. I'm thinking of this is bright like drink Oh, or something from Dragonheart. He'll have like a big square ahead, but it's still divided into two segments like that. It's there, still the snout. It just a lot closer together, and then this would be maybe something like, uh, you know, old fashioned dragons would have extremely long snout me like smog or something like that, and you drop the neck essentially behind it. We're thinking of the head mostly, but I will go over the next when the neck is really just kind of like a cylinder because in this program, rolling, going over the head. But I think the head deserves its own program. That's why I'm kind of kind of going over it. The body, It's a whole animal, but we'll do that another time, another program. But I'm always thinking in these cubes always. So, like I said, this is too hard for you. Go on the side view and just start making these boxes to find your proportions, because that's what we're trying to. We're trying to find it and then build it up. But this is one concept. This is the concept I use for everything and, like, literally, is 90% of in terms of the hard work. You're framing it up. I'm thinking about the proportion which is so unbelievably important for everything. You're the proportions, everything. So when I find that, then I can start building it up. And like I said, the next videos. I will talk about that. So just cut, Commit to this process. So let's go over it real quick. Go over learning to draw the cube like a cube on the page. It should not take you that long. If it does, uh, let me know. But it should be relatively simple to start grasping that that idea just just regular cube ice cubes. And then after that, trying to put those cubes together. If that might be too hard, I understand that, Um, start with Justice side. Yes, I would just aside you for now because the site was actually we're gonna concentrate on anyway. But use these two boxes right here. These are much easier to find the proportions and can start visualising the type of dragon you want to make because that's that's a really big things. We'll remember this, a concept just that makes it way easier. So that's enough rambling for me. Let's go on to the next video and I'm gonna go over kind of concept ing with a marker. Okay. Kind of like getting ideas out with a marker. So let's get going 4. 2 Ways to Generate Ideas: Hi. So right. I'm gonna go over how I go over, like my ideas when I'm kind of sketching to kind of find a design. So we're gonna find a design in two ways. Number one I'm going to use in this pencil show you that method and the second thing that I'm gonna use a marker, Uh, and you can use whichever one you like better and let me know. So let's go over quickly. The pencil method I did kind of touched on in the last video. I will. I'm always thinking, by the way, in profile figure from the side view because there's a lot of the character from your dragon is gonna come from side view. In fact, most of it, um because of how elongated and how cool they look from the side. And you know, that's going to translate to the 3/4 view where they're looking more or less like like, again 3/4 to you. So not totally at you, but 3/4 and that's kind of you. Everybody draws everything in because it's just so much more interesting and almost never our dragons facing like, pointed right at you because they just there's not enough character in it. I mean, that will happen, of course, in cool things, you know, you see him angled down, but generally, we're not gonna go over that. I mean, it's kind of like it's relatively easy to get this other part. So let's go over ideas. I'm gonna go over pets. Lady isn't over the exact same thing I talked about. I'm gonna be using the two box method again. I'm thinking of the eyeball. Maybe over here, somewhere and again. We're drawing it so ridiculously simple so that we can build into it later. Uh, everything is facing this way just to make it clear if you want to control like a neck behind it. But I'm gonna be drawn a variety of two boxes here to find, uh and I'm gonna actually work the sheep of some of them as well. Maybe this will have a really thick neck to find a proportion that I want. Mabel's weren't crocodile. Some have shorter next time that longer, but we're not gonna go that you right now and then I'm really gonna warp some of these boxes a lot. So it's got toy with that and again, you're getting a framework for what we're gonna build onto. So I've done this. You do dozens of these dot There. See? No referring to, um, there's always so many formations you can do, right? Stand down a little bit bigger, like a more of that shape. You just do those all along on just kind of again find. Think about the finish. Maybe Dragon. He wanted your mind. Like what? What is that gonna look like? I don't think about the, You know, I don't think about anything else of unjust general proportion right now. Some might have big years. If you want to throw that in there. You can me with another shape. You can totally do that. Um, like, that's really gigantic, uh, frills or anything. I was gonna add that on there. Like piece. You want to do that? You get those giant frills. Some don't have jan frills, but you can definitely added if you like, but just to a bunch of those, that's one method. The other method is you go over the basically the same thing, but you use ah marker with the marker. Where you gonna do is you're gonna go over. Uh, you're gonna get come over silhouettes. So you just start mashing in silhouettes and they had to be that needs neck on there if he wants frill. But you start just going at it with these Lucilla us. And the idea of a silhouette is that in any character design, so they're all still facing this way in any silhouette, they're recognizable in silhouette. That's a very good sign. Think of Mickey Mouse. Uh, SpongeBob SquarePants is square. Something that is very easily identifiable at first glance is a huge plus, and I would just go through here and fill the page up. This is the second method, but they don't have to do it. You find this to be maybe a little bit more arduous, sir, If you just don't like it, you don't have to do it personally. I do the other method when I'm coming up with ideas. This method is good. I'm just giving it to you as a choice. Some of them become an art form of themselves. If you ever looked through concept art magazines, they will go all out with just the silhouettes, which could be good. But it's not in my opinion, is not totally necessary. It's more or less because you're making when they put silhouettes and magazines stuff, it's because they're making them very fancy to be, I would say show off. But they're showing off that that method and they wanted to look really good. But you don't have to do that was thrown in that little frill. You just do pigeons. Uh, so think about the two boxes in there as well. I'm still always thinking about that, if you want. I forgot about this with horns. May throw in some horns, some random horns. I don't really talk much about horns, cause it's really just an accessory. Um, but I guess they do make the silhouettes look better. So thanks them back. Those are all like accessories. Um, I'm gonna make a separate video for horns, but I will talk about accessories and features to the dragon that you could add. But right now, proportion is king. And that's like that with all types of drawing proportion is almost always came because if you put a lots of detail into something that has bad proportion, you're gonna shade. It will be nice and be like, Wow, that is totally in the wrong area, or that is totally bad. You know, the whole design is bad because the proportion is bad. But anyways, those are the two methods in order to get a, uh, you know, get an idea of kind of proportions of your dragon to come with ideas. But I used those two. It's like kind of box method again. You look at it from just a side view and then just kind of a silhouette method come up with a bunch. The idea is you come with a lot of them, and then you start kind of kind of picking out the ones he like. So you could even so if you give them Teoh given this to, like, a client before, and I would kind of number them. You don't have to do this because you're just picking them out for yourself. I would number them, and I'm thinking, like, Okay, what features do I like that? I want to bring it to my next design, maybe take some features of some, and then pull them over to the next design. I like the long head here. I don't like the two horns, though I think the horns and pointed back but anti within features. But I like the proportion. A lot of this head is a very traditional dragon head to toe because it's easy. Uh uh. This was more like more like a lion or tiger like again. Think of Draco from Dragonheart. That's a totally kind of different Look, I do like that. Look as well. Some of these look a little bit goofy. I don't want to look too goofy. I just want, like, a traditional dragon. And for this demo song, I picked this proportion. That promotion, uh, doesn't I don't really want the low. I don't the high eyes either. Yeah, I'm just gonna pick this one, and I would move on with that. So if you do something similar to the same thing with these, depending what method you're doing, you number them, and you're like, OK, which proportionally like, if I was to pick out of this page personally, I would pick this one. I like the proportion of this head as well. That's pretty much matches the other one pretty closely. Yeah, So do that. And this exercise is really fun. It's really, really fun to do. Just come with its, especially this stuff. It's so easy to do it and just kind of come up with it and pick the proportion you want. Pick it and then let's move on to the next video and then I'll tell you what to do when you pick it. Okay, let's move, Let's keep going. 5. Demonstration of Process: Okay, so I'm gonna start with the original shape that I started with. Four says the shape that it picked, I picked the more traditional, uh, dragon shaped head of the neck. Pull out. So one thing about the neck pulling out is it doesn't pull downward like a human rights. So the skeletal system of the human is were upright and so, like the skull with a neck, but with a dragon, like in most lizards, Uh, it pulls out the back, right? Like a lot of dinosaurs as well. So the next gonna go backward? We're just counting on the head. We're gonna do that. I'm joined very lightly, but I'm taking like I said, that particular form that I liked on I'm kind of flushing it out here, so I'm just taking that design. Uh, I'm gonna throw a little bit of horn here backwards. I'm not gonna pick. Might really think about that. I'm thinking about a general designed to kind of show the process, so I'm not gonna go wild with it. And then I might put a small frill over here in the back that comes off usually the cheekbone, but I'm gonna go with that in a second. Right now, I'm just gonna come up. Maybe I'll put like the shape here to hold it. Maybe not. We'll see. Throw a little circle here for the I, so let's talk about the eyes for a second. So in predatory all animals, the eyes tend to angle forward because they want to have the idea. So the idea of predatory animals having forward facing eyes has to do with their hunting. And when you hunt, you want to have overlapping vision for depth perception. And when you have that depth perception, it makes a lot easier to hunt. You know, judge distances to jump pounds of stuff. So if you look at even stuff like a T rex, it's Isar a little bit set forward here so they can angle a little bit more willing glitz head downward, and it'll look forward as opposed to, like a cow or a deer, where their eyes we placed way more the outside of their head. And that's so that they can survey the premises and actually see, you know, they're always on edge because they're saying predatory animals, you know, at a distance, and they're sensing it and they're ready to run. They even have that with movement, and this is not relevant to the design. But I think it's fascinating. Have predatory movements and you have, you know, pray, movements, pray, movements a lot more scattered, like, you know, like on edge. Uh, you know, when they need to be, they bounce and then you have predatory movements. They're just chill. If you ever see a bunch of lions, you know, like a pride over there. They're just chilling around a bunch of prey, and the prey will freak out when you know the Lions freak out. But it's always a lion's decision because that's the predator. It'll just kind of chill. If you ever seen that, like, a few miles away or something or a few feet away, it's kind of wild. Uh, but that's that's what movement. So I'm gonna place the eye here, and right now I'm drawing very lightly using this pencil again. I'm using the five B. Um, I'm gonna pull down front here. Let's talk about the position of the nostril. I'm only putting a placeholder here. You're not gonna draw the eye quite yet. I'll go over that a minute. And right now I was getting my proportion down. Uh, and then I'm gonna draw them nostril toward the front here. The reason for that as well. There's a reason for that. A really common mistake I see is where people draw the nostril way back here or way back here. You can do that, of course, because dragons are fantasy creatures. But you want to take from riel animals, It'll it'll kind of make your dragon see much more real. If you're taking from real animal behavior riel animal features, the nose tends to be toward the front. And if you look at something like a T rex or a crocodile, have it like up here. It's always got to the front. They wanna be able to smell their food. They don't want to have it way back here. It's getting really hard for this. Smell, their food. They got the angle that head a certain way. Uh, they had you wanted toward the front. Um, you know, there's certain things, of course, and these are all like, you know, like 80 90% tile kind of general rules and guidelines. There's always exceptions to all of these rules. There's always some weird animal that you know, involved in a weird way out in Australia or something like that in its own ecosystem. I'll give you an example of, like spinosaurus spinosaurus. They're not so their way back here, and the reason they would think that would be it. It largely goes after fish. And so when it's like has that long snout to kind of capture fish, it doesn't want to be drowning, you know? So it's Knossos away back here. Obviously, it's not a decision thing. That's just the way that animal changed according to its environment. So that animal slowly changed over time, according to environment. So we're going to hear the front, and I would say about you, could you could divide the part of the mouth at the middle just totally fine. I like to do give a little bit more space of the top, but I'm gonna do more or less 2/3 down. You don't have to do. You could do whatever you want. There's a lot of cool, cool designs of that, that kind of Ah saw, like smog from The Hobbit. He's got this really wild under by that really freakin love his parting his mouth. It's like I know it would look really goofy when I first saw it. In fact, I thought it was goofy, but then when he talked like, Whoa, that makes so much sense. Uh, it was so unique. But I'm gonna just part it toward the middle like a sandwich, like a subway sandwich there. And I am gonna pull down a little bit, give it a little bit away, venous toward the front. Here, pull up. And then, just like a crocodile has this count swooping shape right there and then it's gonna go into the juego bone of the juego bone. I believe that's I pronounce. It is essentially the zygomatic arch on us. It's just the cheekbone, but they call it something different on reptiles. Then it pulls back. I'm gonna place the horn over here behind his head behind his I Sorry, and I'm not gonna make anything fancy. Like I said, I'm just gonna do for demonstration purposes Sunday draw that little horn there to show it . And then, um, the ear is the ear slit is gonna be right behind that horn. He's gotta hear somehow So you come to slip right here. And then, um, I'm gonna draw my frill my dragon like thrill just, you know, very, very bland, overage American drawl. Really wild one if you want. But it's ups use up the design that you picked, Okay. Pulling down, trying to find with a skull, connects the neck. And then right here, the jaw pulling back down here, the mouth underneath. They were the birth of the mouth would open. It's gonna pulling in, attend a little dip. And since the neck is pulling back, I'm gonna give it a little bit of hanging. I don't do that for anything but a little bit of hanging flesh. I'll go into that more as I'm rendering this out. Okay, so we have our general guideline right here. We have our kind of shape that we're gonna build into a pull some teeth out. If you see that within T rexes and crocodiles, their teeth don't hit forward. Although neither do we. For the most part, we are is kind of overlap for if you look at Lyons, if you look at, um, crocodiles, especially a T rex, stuff like that, their teeth Oh, like overlap big time because they're they're they're crushing bone and stuff like that. So it's kind of like the waste scissors work that I think are it's kind of do it. But there's really do it on bats, makes him or, you know, essentially designed to kill. You know, our nature has designed them, you know, and they've evolved to it really kills their killing machines. Really, it's pretty wild when you go into the and so you want to kind of bring that over with to our dragon. And so because of that, you're gonna teeth sticking downward if you're looking a t rex Skull bonds rose Atif just sticking down already. So now we were t sticking. That doesn't just placeholders. Like I said, all everything is a place that looks, let's really go into stuff. I'm gonna go in there here and start drawing the line for the I very similar to human I By the way, if you looked at my eye drawing video eyes are constructed the same way, except it's gonna be pretty much filled in black. We're gonna fill it in black here, and I want this guy be angry. They always look cooler, angry or yelling or roaring. So I do that. I think what the I is I want to place into the skull. They're very, very carefully piece I don't want It s so if you think about things like animals changing with their environment, right, like a crocodile, have its eyes way to the top because it's peeking out the water slowly. Same thing with his nostrils is it's not really where on the top animals are designed for their environment. And you can also kind of pull that into your design. If you want this dragon to be aquatic, I would actually recommend maybe putting him to the top, giving him features more like a crocodile in that way, in that sense, But if you want to be like a land roaming medieval dragon, I would, you know, push it toward, like a t Rex or something like that. Like there from the features of T. Rex. I'm gonna throw some lines right here to show the changing inform. You know, there's a changing in form from the top part of us now to the side. I'm gonna actually change the very front of its snout. A little bit. I wanted to be a little bit more pointy toward the front. Somebody give it a little bit more of, Ah, kind of almost like a bird's beak just at the front there. You gotta look kind of cooler living more bulbous here. Something here is gonna pull back, going in darker into the I. I'm trying Make that the actual try to put down stuff that's going to stay there Now I'm thinking about this horn and what's gonna hold that horn there and a little like kind of loose. I would say flesh, but now it's a more scale, maybe scales and making sure that horn looks like it will stay in there. That's the thing you want to do that through, You know, the skull looking like it's it's fitted to do that, pulling lines when I pulled directional lines, by the way, and I'll show you over here in a small So let's just say this is a tube. We could see this. I'm gonna pull lines with the form right. I'm gonna pull directional lines and little value lines with the form that it's it's actually showing and the way that will work is gonna make it look much, much better. So I'm pulling these lines around. We gotta watch other ability has, uh, eyelashes, But every other part of part of this dragon, I'm gonna pull them with the form that I'm imagining. The form is imaginary, right? You're imagining the form, but you think about the way other animals are. So his horn would be like all black. Just color it in colored in, but just kind of put in with value. If you want to get the role like the one on the far side, they're just indicated Let's go a little bit downward there, um, going the front, pulling in some darker lines, gonna make that nostril darker, right here, going into the deep teeth. And I'm gonna try to make the teeth a little bit uneven in terms of their size. So if you do look it like, really school and I highly recommend doing that look at real dinosaur skulls like it riel schools of animals. With teeth like this, their teeth will be uneven. And that also gives it a much more realistic inorganic look. Uh, this bone right here in the cheekbone or at it I'm gonna pull it up a little bit, and that's gonna give it a little bit more. It's gonna give it a little bit more dimension and little bit more character. What? I'm gonna pull that up a little bit. I'm gonna give it. Make that shape deeper when we're looking at up. Then right here is. Well, before I do that, I'm gonna throw around the nostril like a like a shape, The form kind of like it like that, not affecting that area around there. I'm going to change the shape of that lower jaw a little bit, make a little bit more round, pull it up a bit, bit more. It's the tooth. And there, back in the jaw, we'll hear more stronger line for the bottom of the neck. And I want the throat. That's why a lot of designs don't do that. But I like that. I like showing a thickness on the throat here for a little bit and then pulling it back. And I just think it looks much more natural. You could just put a sleek, thin neck right there. You could totally do that, but that's just kind of way I do it because a lot of dinosaurs have that. So all right, listen to depict a lot of dinosaurs that, you know, they had, like, little like, larger throat muscles. If they're loud, uh, and then pulling down here, I'm gonna throw. So think about the light. And this is not a shading video, but I'm thinking about the light source coming from up down. So there's going to be cast shadow basically will just be a shadow on the bottom part of his neck. And I'm literally just gonna fill that in and thinking about it the same way I would think about a tube when that's lit. So, for example, if that's like a rectangular tube light source gonna hit from from the top and then Onley, this bottom portion is gonna be in darkness. Same thing with his neck. So this bottom portion is going to be in darkness. All right, throw another tooth. They're using this kneaded eraser to kind of fiddle around. No, right. So let's continue along with his form, I think is a little bit too much value on the top right here. I say value. I mean, just any kind of darkness fill it up a little bit and I feel these little lines curving around the object on the object around the form they're carrying around that form. And I want it. Like I said, I want I want someone to kind of feel the curvature of of this dragon. Even though Dragon doesn't exist pulling in here canoodling with things There's a lot of noodle and going on at this stage. Okay, I'm adroll right here. Back of the eye. I want him to look rougher and rougher, So I wanted to throw like maybe a heavy bag under his eyes Make him look a little more gruff. Normally you don't do that on characters because it makes him look older. But, I mean, this is a dragon. Anything usually animal like it tends to go pretty well. It doesn't look more and a devious, maybe more than evil side more carnivorous. Let's go to the frills here with frills attached to the back of the head here and many of the frills a small amount of depth here, Think of them as little spines connected overall by skin. I'm thinking of like you don't think about think about webbing do you think about Web fingers or Web Web toes of frogs? That's kind of the way I'm treating this. - But over here, I'm talking as much kind of working out. You working out little? A little. Uh, I guess you call them problems. But you're, I guess, Yeah, you're finding out little solutions to small problems. So right now, what I want to do is I want to connect. I think this areas to blank like you don't see enough of its form. So I'm gonna throw little lines right here, showing the overall form and then bring a little bit right here on the edge. Uh, again, there have been small lines over here kind of the side of my pencil showing off the form connecting those teeth because it just kind of put them there. It's gonna floating and then throw in a little bit of value right here at the bottom as well, because again, we're dealing with the bottom area that's gonna have It's gonna have some value there as well. Maybe throw some off the top over here because that's gonna cause a shadow. Another dragon I really like is Shen Ron from Dragon ball. That's a really good. That's about the closest thing I'm thinking about. Chevron's a really great dragon. That's a good face type for that. I'm almost done with this. Uh, this is just, like, again an example. We're gonna get you started to get you going, uh, over here again, thinking about that round form. Even with the neck special the next. It's so simple. You're thinking of, you know, these curved lines, Tracker of the lines of the direction we have gone over scales. Um, I don't really put skills. I'll be honest. Sometimes I'll add a little bit of them. I think that tends to muddy up a lot of stuff. In all honesty, I think I really think it makes it look a lot dirtier and makes it look overly complicated cause you can over complicate forms and it's very easy to break them. I don't really recommend skills, but you have to do it. Let's try it on him. Maybe put some indication of scales, but don't put it throughout the entire figure. Put it in strategic points more like near the eye area. Maybe in the front of the nostril, uh, on the snout Um, yeah, and and then kind of dash it around. But I really would not put it everywhere, everywhere, especially at the bottom. I wouldn't even be in that area, just indication. So what indication is his indications? You're showing you're putting it in a few places, but not all over. So think about Indication. Great. One would be like when you see furry animals and animated movies for animals, animated movies or not, does not hair all over them. There's just like areas where you see the hair stick out, and then it turns into a straight line again. And then it spills out with, you know, furry lines again. So that's an indication. So they only show you part of it, but it makes your brain fills it in. It makes you think that the whole thing is your furry so similar to this in this fashion, put in enough areas where the viewer will think it's everywhere, but don't put it everywhere. Um, especially around. I forgot about this around this area. All right, that's about it. Let's Ah, let's go into the next section 6. Features of the Head: Okay, so let's talk about features, the horns, the you know, scales. I've already talked about the skills, but the frills. You can get creative with this, so I really want to talk about the creativity. This is just a base start. I drew kind of basic dragon for you on. Do you know what? It's a traditional dragon type, right? So there's a reason why it's been around for so long, really. You know, there's different kinds, like within the face, though they're generally, you know, traditionally, like the Asian dragon looks more like a tiger or something like that. And there's more kind of touches from lions within European dragons. But regardless this kind of a lot of different ways you can do it. But if you want to get really creative, start exploring the features. The little adults as well. So one way get creative obviously, is to completely changed a proportion. Absolutely. Look it how to train your dragon that had the wildest amounts of cool, different dragon types. It's like they went crazy with it. That is probably best source I've seen with really while different dragon designs. But if you want to start, start with features. That's another way. Maybe I'll take the end of the nostril here and I'll flair them up, right? I'm just taking the example I had. I'm gonna flair them up, and that will give it a little bit of a different look. If you want, you can pull up this cheekbone very high, like really high, that will give it somewhat of a different look. It's the I type is. Well, if you want to give it. I don't know. This is more on, just like in value. But if you want to give it slit pupils, you could do that as well. Generally, slip peoples are for small animals. That's why when they drew men, they did that in Jurassic Park. And that's completely inaccurate. There's no way at what slit people's therefore really are, so that your so you can see upward and downward much better. It's like kind of stretched out regular people you can look up and down, and that's for shorter animals that look up. If you look at larger animals, they never have that tigers and, you know, lions. They never have slit pupils. It's only the smaller cats, smaller, you know stuff like that that that has toe, you know, it's vision has looked up and down that has that and again general rule, like 80 90% of them. That's pretty much rule. But they look cool, though, so you want to put them in smog. And you know, all these giant creatures because it looks so awesome. So I mean, that's that's cheating. It's kind of whatever. But again, we're not dealing with reality scales. Like I said, if you want to put skills everywhere you could, you could platelets these large platelets that I forgot to call, um, osteo terms, right osteo terms are these large plates that crocodiles have on their back? You can throw these essentially just large scales and are all skills are really are just like, you know, octagon and hexagons that are kind of hard and forms of protection, really. But you can put osteo terms and osteo terms tend to be believe their bone as well, some of them inside. If you were looking at the skeleton of an alligator gar or something like that, we will have them in skeleton form, so maybe you can throw these forms throughout, you know, like instead of scales throughout, or you could even throw them on here. Let's stretch throw them on the eyes. And right now I'm just kind of going, you know, going through it, messing with the base of my old design, much larger and really just looks like large scales. May at the front. Here you can throw. It may be a top. It's up to you, really. These last year terms were also really cool. You can also mess with the horns, the horns of the easiest one pride of mess with. Maybe you could make the horns. Some of them are aimed front. You came. I just a mind back. You can give it like Ram horns. You know where it changes. Maybe shape. Maybe could make it like a hook. Um, these are details, but they can absolutely change the character. Of course. Middle flare up. It's over. It's thicker on this side. It's up to you. Really. I wouldn't even do that. To be honest, it's kind of wacky. That's a little that doesn't even really work. Really. I would make it thinner as it goes out, even if it was a hook. But these are things to mess with. And again, creativity comes from that general proportion. That's why you want that general proportion of the again. When I look at this, I see my old design. I see one square stuck to another. They learned what I see. But after that, like I said afterward, you can again mess with the features, the frill. You could make this frill gigantic. I think if you look at Diadora from Godzilla Qadoura, the three headed dragon, he has think pretty big. Not too big, but pretty, pretty, wildly big. Some of some designs, like huge you can aim it downward and you don't want to make anything too much. That's another thing. If you add all these features, it starts to get crowded and it starts to pull away from the other parts of it. You only want to put maybe to kind of wild features if you're really gonna throw wild features in there, or maybe even one, maybe to get him like a horn at the front or something. But you only want the water to wild featuring. Right now it's kind of a mess, but you don't throw water to wild features into any of these things, because when you start throwing three or four like right now just starts to look like a mess is just too much junk everywhere. And there is a balance to that. But it's just a It looks too messy, and it looks like a beginner started it. Then you want to look like, you know, like design comes from, like sometimes simplicity. A lot of times, actually. Simplicity. So you kind of want to be simple. Usually, if you want to give it like a gigantic horn. You given that gigantic corn and think, How is he gonna use that? How is he gonna use that horn? Is he gonna ram stuff with it? Like if you look at stuff from a movie avatar, the movie avatar. You know of the creatures. They have these kind of rhino looking things, but they had, like, hammerhead kind of skulls, and how would they use to ram it? So if let's say this dragon had a gigantic horn like a huge one, what would you do with it? Is he digging for food with it? Is that what What does he do? What? Quite what purpose could it have. It doesn't have to have a purpose at all. But, you know, if you give it one, it might. It might make a little bit more like again. It will give a little bit more depth to your character. So think about that stuff with us. Is it, like, just for mating? Is that why it's like somewhat like a giant horn is for mating To attract a mate for, uh is the last of his kind Or start start throwing. These designs will really reflect kind of what your dragon is. What's going on with your dragon? Really? You know, in its story, for example, is it used reward? They do. People just kind of harvest these. They breed them and have them like horses and slaves. You know, like whatever you know, like, just like pets. What is going on is that one loose dragon that's floating around like Draco or so figure that out. The creativity is gonna come from and it is so insanely fun. So that's what I want you to do for your project for your project. Please, please post your dragon designs here. I would love you can either post your silhouettes here or post your finished drawings. But I really want to see, you know, one of the other or both, but post something here, and I'm gonna comment on every single thing you post I will comment on. It is so much fun. I can't tell you how much fun this is. So I hope to see you guys soon, and I am gonna give you some parting words in the next video. 7. Art Advice (bonus): all right, Thank you for finishing the program. And now this is a bit of a bonus video. I'm gonna give you some art advice, that, uh, kind of I think you're gonna get a lot of value from, so save every drawing. That's really the advice. You have to save a lot of your old drawings. But don't cherish your old drawings. I wouldn't say Keep them like their treasures or anything. You could do that. But what you want to do is you want toe progress, you know, actively and you want to get better and better and better. And for that, you don't need to cherish old drawings because you know, you can kind of do them again later if you have to. Uh, that's one thought. The other thought is You want to save them to save old designs. So even these little silhouettes and or a little wine drugs that you did for the design of the dragon. You want to save that because what you could do later on is go back. Let's say even a year from now and you look through your old stuff like, Hey, that's a cool. That's a cool design. I can take that design and I can actually make it into a new kind of finished drawing. And I've done that like dozens and dozens and dozens of times. So make sure you keep that, Uh so those two reasons are one your progression. You see how much better you are? Hopefully, a year or two from now, then old design ideas that come up when you're in a different mindset. You're like now I can take that and do something cool with it. We're before it couldn't or it just wasn't in that mindset. So always save your old stuff. That's pretty much it. Thank you for the whole. You know, thank you for being here this long. I appreciate it. Let me know what you think in the comments, and I will talk to you guys soon. Don't forget to do those projects because that's a really big deal in your progression. And I will comment on every single one. So talk to you in the next programme.