How to Start Drawing by Drawing Cartoon Monsters | Maria Avramova | Skillshare

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How to Start Drawing by Drawing Cartoon Monsters

teacher avatar Maria Avramova, Illustrator/Animator/Filmmaker

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

Watch this class and thousands more

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

Lessons in This Class

20 Lessons (3h 22m)
    • 1. Introduction

    • 2. 01 Materials and Warm Up

    • 3. 02 What makes a Monster

    • 4. 03 Refine your design

    • 5. 04 How to draw Monsters using only spheres

    • 6. 05 Refining the Monsters designed with spheres

    • 7. 06 Designing Slimy Monster - Part 1, A Blob

    • 8. 07 Designing Slimy Monster - Part 2, A Lizard

    • 9. 08 Designing Slimy Monster - Part 3, An Undefined Blob

    • 10. 09 Designing Slimy Monster - Part 4, A Monster with several eyes

    • 11. 10 Furry Monster - Part 1, Design

    • 12. 11 Furry Monster - Part 2, Running Pose

    • 13. 12 Furry Monster - Part 3, Laughing

    • 14. 13 Furry Monster - Part 4, Sad

    • 15. 14 Furry Monster - Part 5, Angry

    • 16. 15 Furry Monster - Part 6, Relaxed

    • 17. 16 MonsterĀ“s Family - Male Monster

    • 18. 17 MonsterĀ“s Family - Male Monster - refining and adding details

    • 19. 18 MonsterĀ“s Family - Female Monster

    • 20. 19 MONSTER FAMILY MonsterĀ“s Family - Baby Monster

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About This Class

If you ever wanted to become a character designer or just learn how to draw but you have struggled to draw people or animals, this is the course for you.

Monsters are creatures born out of human imagination and thatĀ“s why they are so unique and original. Each one of us can create a made-up character that is unique to just YOU.

In this course, you will get insights, guidelines, tips, and tricks on how to design cartoon monsters, what makes a monster looks like a monster, and how to find your unique style.

Not only will you start drawing amazing characters but that will open the door to your creativity and lead you to design even other cartoon characters.

Also, we all like scary stories. Learn how to give your little monster personality so it comes to life.

Learn how to put emotions to your monster.

How to make your monster be more evil, scary, or rather cute.

Learn how to draw monsters of different ages and gender.

We are going to talk about how to draw without fear, how to go about and design the anatomy of a made-up monster, and not only one but many different types.

This and much, much more.

Meet Your Teacher

Teacher Profile Image

Maria Avramova



I am a character design, film director, animator, and illustrator.


I have worked in the animation industry for over 15 years, bringing characters to life. I have worked with clients such as McDonald's and Ericsson to create top-notch 3D animated characters for their commercials.


I´ve had the privilege to direct actors such as Sir Roger Moore and Peter Stormare among all, as voice actors for animated movies. I´ve worked with renowned illustrators and screenwriters such as Iain McCaig, the legendary designer from Star Wars, to breathe life into stories and characters.


The TV-show I´ve recently written and directed, called Space Yoghurt, is having a worldwide success and has been featured twice in t... See full profile

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1. Introduction: Do you like scary stories? Go like monsters? Do you like creating scary stories with monsters? But you have a whole new one problem. You can't draw monsters weight round. You think that you can't draw monsters. In this course. I'll show you how high my name Is Maria of removal. And I'm a character designer and a creator of animated movies. For out my career, I had the pleasure to work and design some fun characters. And yes, even monsters. In my latest movie, layer in the forest pirates, I had the privilege to design and create this cookie monster who many kids fell in love with it. And now I'm about to teach you how to draw too. Besides, if you're a beginner, started drawing by drawing monsters is very forgiving because everyone knows how a human like and everyone knows how an animal looks like. But no one has seen monsters except in our imagination. That's why even if you character looks a little strange, it will just say, well that's a monster. So what will you learn in this course? Different approaches to design amongst them. What makes a character look like a monster? We will go for facial expressions and how to pose the monster to bring his character out. Here we'll learn how to design and monsters family, which means that she will learn how to draw a male, male and the baby monster from the same species and much, much more. So, let's get you started. 2. 01 Materials and Warm Up: Hi, and welcome to this course on how to draw kept Tony monsters. And now if you've been to my previous courses, you know that we are using only a blue pencil and a black pencil while we do that, because we're going to sketch the ground shapes over the blue pencil. And then I'm going to refine with the black pencil. And we're not going to use any eraser. Because one thing that you need to learn here is to overcome your fear of drawing. And you're afraid of drawing because you think you've got to make a mistake. And this is completely a wrong way to go about because you need to try out the shapes before you actually refine them. So you need to be sketchy before you go certain I recall with the outlining and the black pencil. So you know the answer already. It's a little more repetition for people from my previous courses. You're welcome back for the new people here while I'm welcoming you. And I promise you we're going to have fun here, because what's not fun about monsters? Now let's get started. So we're going to start with a warm-up. And for those of you who've been on the previous courses, you now that we're starting with drawings, fears, and withdrawals, fears very loosely. You see, I'm not even moving my hand. I'm only moving my arm from the shoulder down, from the shoulder down. And you'll see that we see a clear sphere shape shaping. So let's do our nodal sphere like that. And now we're going to vary in sizes. So not only you're going to draw a sphere, but we're going to draw a different spheres. To be able to draw freely, you need to know how to do though. So it doesn't have to be afraid of doodling. And this is a way that you can get used to it. Now, besides spheres, we're also going to draw ellipses. This is the other way around. Instead of just moving your arm in circular movements, you're going to move your arm up and down and form ellipses. And the shorter the movement are, the more narrow the ellipses, you'll see just a little bit and you'll see how without wanting in one, there is an ellipse, a perfect ellipse forming between these thick wines. It's forming a shape. Now. Not only we will do this forms, but let's do some other shapes because we are going to build monsters from all kinds of different shapes. So what do you do here is you draw a cube. And you do that by drawing up and down, one side, throwing up and down, drawing for feedback the other side and another one. This way. You can also do it this way. Just really fast without being afraid, again from the shoulder down. And you see that sometimes you draw spheres, sometimes you draw a cube. But that's how it goes and thus how you will find the perfect cube when you draw a couple of lines like that. Let's draw less road triangular. Now you move your arm 4 pack up and down, four back, up and down. Like does it really fast? And you see that you have the same effect here. But now you're going to also draw an uneven shapes. Just, just to let you know, don't think, just make your arm moving. It's just an irregular forms and shapes to draw another one here. Just play with it, play with it. Play with the notion of you are moving on the white sheet of paper. This is a really, really good exercise to free your brain, to free your mind from having to make a perfect line. And just the fear of doing a mistake. Because you can never do a mistake. Just form a sphere here, triangular here, just do it quick. It doesn't matter, That's when you move your arm. You don't do the same shapes as me you see. Don't follow any rules. I just move my arm so you're gonna get a number of non-perfect shake like doubts. But you see that even if you squint your eyes, you see that you see perfect triangle are perfect squares, perfect spheres and ellipses. And so I'll do that for some minutes if you need to. And I'm going to continue with the next lecture by starting to design the monsters. See you there. 3. 02 What makes a Monster: Hello there. And let's start with the fun part. We're designing monsters. Now. Do the same exercise and start drawing uneven shapes. So just randomly draw maybe another one here. Draw a bigger one on each side. And maybe an ellipse here. Draw maybe square like that. And maybe, let's say a fear here, another one here. Well, let's start with that. So let's take these three, these four shapes and design different monsters from, from them. Now, what makes something we'll look monsters. What we tend to see something as most of us is something that is a repelling. What is rebelling in something that we see as dangerous, like, for example, elements of a lizard. Because snakes can bite us, not all of them, but some can bite us. And something that is sharp, snakes have sharp teeth. Also. Predators have sharp tip, so sharpness is something that we find. We find monstrous combined with human features. What else? Wars, for example, deformations on the skin and the body. We see as monsters, even though the personality behind them may not. But we, as people tend to generalize thing and then to like things that look symmetrical, perfect, that looks, that has this kind of our appeal to us. And the other way around, we see deformations of the body and the face, and the features look monstrous. What else do you find monsters? It's also an unevenness, but also something that we don't know. Like for example, aliens alike, people or creatures with three or four arms or eyes or anything that is basically not human-like, not close to a perfect symmetrical look of a person, for example. So let's take these features and design in this matter, cute monsters. So first we can have some kind of deformities, some kind of look that is not human-like. Let's make this one have one eye. And one eye is associated with someone from coming from outer space, but also something monstrous. So besides one, I, what makes the IQ is its roundness. Big I was small pupil, big. Eyes tend to look cute to us because it reminds about children. What else can this monster have to become monstrous as well as the kids? While another thing, another feature is maybe if it has a smaller mouth, and if we split this fear into as if this is the middle of the face and the body of the monster. So here we can find some symmetry. Even though for when designing a monster or symmetry is actually to be preferred. Something that is shoe, something that is different from one side to the other. What else can you find? He's like, as we said, sharp tip, something that reminds of XOS of Dracula. Now drag laser symbol already so well-known that we can use these traits to design a monstrous look. And let's just form this shape of a monster. And now with just one eye and a small mouth with two teeth. Why is that? The mouth small? It also because this is a proportion of a kid and that's how it makes a monster a look cute. What else can we do? Let's have some hairs here just to signify that it doesn't have a fluffy hair. And what can we do more or less design some feet. And feet can be really, really small. So let's just do two ellipses. One on the one side of this middle line and the other one in approximately the same size, the same distance. And here we can do just the line here and a line there. And let's have this monster have like pulse because something that is also The tending to be more monstrous is if this character is some kind of an animal and animal species that we don't recognize. This is also something that tend to look more mysterious and scary to us. So I'm just going to split this ellipse into and do the same thing. And now I'm going to have the ellipse flat as if it's on the ground like that. And I'm going to split this one into as if it has toes and as if it has some kind of our posts. And here I'm going to give the monster human arms. And I'm going to make one sphere here and one sphere here for the arms. And I'm just going to connect them up from one side, we adjust the curve and from the other side, just the curve. And these two spheres here will signify the Feast of this cute Monster. And this is also when you have a month like in this way, having us feast together and have his arm in this pulse, that makes him look cute as well. So I'm going to just split this fear or ellipse into as you see, and just use that. To define where the knuckles are. So if you, if you called your hand like that, you see that it forms like a ball. And this line here is kind of our line going through the baseball. And this is going to be this line here. And from here you just make two lines to define the arm or the hand. Let's do this 2D on the other side. But now I'm going to tilt it a little bit. So the arm is not just like that, but a little bit tilted like that. So I'm going to define one line here and put some lines to define the, the fingers in a feast, in a fist like that. And now we have our first cute Monster. Now let's do another QC monster. So this is going to be a cute Monster exercise to start with. What else can we do? Well, now this is like a long ellipse. What else can we do, as we talked about, something that makes monsters look monstrous is something dysfunctional like, for example, many eyes. Now we have the ability to put many eyes on this, on this space because it has a rather large body. And you'll see that we don't even need to design heads here. Thus, what is fun with designing monsters? That they can be of any shape and form? And this is a good exercise for you to start with if you learn how to draw. Because if you draw, for example, people or something else, you need to have a clear structure. While this has to have legs or body or anything. But with monsters, it can look in any different way. And because no one has ever seen a monster, well, your solver given to do whatever you want, and that's what is fun about it. So let's have this monster, have his mouth here. Just to prove to you that monster can have us inventory doesn't have to have the mouth of a year, budget and recite. And this is also a trick for cartooning. Because in cartooning, you allow to actually move the features of the face everywhere you want. Let's have a smiling monster. And this is also something that would make a monster cute if the monster is smiling. And now let's have a rather sharp teeth. But the thing is that if you want to make something cute, you round up the teeth a little bit. Because again, sharpness makes things look, look rather scary. So if you're out for the cuteness, just make them looking sharp but around the map a little bit at the edges. And now, unless gels color or shade inside the mouth, just to enhance that there is a depth to the mouth. And now let's make all the i's here. We're looking at us. And again, we're going to aim for big eyes because they look cute. As it reminds us and reminds us of children having big eyes and immediately or monster look skewed. What else can we bring here for this monster? Let's pick another feature. Like for example, thinking about aliens or a species that we find a repelling aids, for example, an octopus or something that has tentacles. So if we, if we have tentacles to the body, this is something that will remind us of our species. We're head and tentacles. It's not something very nice. And this comes even for from a demoed mythology like the Medusa, who had a head and tentacles, like combining different animals features makes them look more monstrous. So let's use the tentacles here. So let's just draw ellipses like that. And we'll have one being an arm and another one here. And let's draw another one here. If you want to have a better control of these tentacles. And another one smaller here. So, and just round them up later. So you don't draw all the tentacles, but you just use this ellipses as placeholders. Placeholders, it's mean that it Guidelines where to put the tentacle. So you just use the outer line of the shape of the ellipse and outer line of the lower shape and dust around the map and the end. So it looks like a tentacle. And the same thing here. And just rounded up. And the same thing here with the arms. And now I want to turn into a little bit in this way and this direction. Well then I'll do that. Thus, the thing with sketching and drawing is that you can never make a mistake, but you need to find the character first. And now we have our cute little monster. Is this something you want to put in on this monster? While let's have some horns on the monster. This is going to add a, yet another feature to this monster. Homes are also something that we associate with something threatening because of the sharpness and because we portrait, for example, the devil horns and something that has eyes, even many eyes and horns. Cells are appearing to us as monsters. And now let's have this one. Here. We have two parts of this monster. Now, what else do we find monsters like, for example, something that is Harry or the half-human feature, something animal-like, but with human features. So something like the yeti or something. So let's put some fluff on this thing. And how do you put the fluff? So let's split this thing into and has a look rather symmetrical and just follow this fear that we designed. And what makes it look like a hare is you can pull up such kind of chunks just on top of that. And this is stylization of hair. So you don't need to draw like a lot of hair, which you can also do, by the way. But this is my cartooning way to describe that there is a hair on top of this shape without drawing every single hair. It's a nice trick. Here. We'll have this kind of hair and this one. So we have this hairy monster. And what else can we do here? What will, what will this shape be? Sometimes when you draw shapes like that? I mean, we can come up with ideas. What does shape will signify? So I'm just going to do that differ for example, the length of the monster. So I'm just going to split this into, and you just, instead of drawing an ellipse, I'm just going to draw a line as if they're two legs. And I'm just going to draw one line here and one line here as if it was the floor. And now I'm going to draw the nails or the toes of the monster on top of that. Because besides that, this is something that is, besides we don't withdraw most that we also draw a cartoony character. And in cartoony character you can have a perspective and the toes that are actually without seeing the food anywhere. This is also stylization of this character. So we can draw the hair being asymmetrical because of course the hair is never symmetrical. So just drew chunks of hair on this egg shaped form like that. And here we are going to have the eyebrows, the eyes are going to be smaller because we want this to be a fluffy, bigs, big, rather goofy monster and a little bit scary. So even though we designed cute monsters, just going to be a little bit like a scary monster. So I'm going to make one line here that will signify the eyebrows. And this is something else we can do. Like if you look from underneath your eyebrows, you look scary. You look angry, even if you're not angry. And I'm going to make the eyes looking scary. What else can we do? Something that can look scary is having a big nows, big red nows. This is another feature that reminds us of another medical animal that is actually trolls. So this is a troll and this is something that we're familiar with. We've seen in many, many movies or books. And here I'm going to make the mouth being underneath the nose. So all the phase is gathered here. And what else can we do? Again, let's do a tooth. If we see TIF. We associated with something showing tif, even if it's like having a lower the lower lip going on top of the upper lip. And this is also some kind of on deformation of the body. And deformations, again, as I said before, lead us to be repelled in a way from this person or an animal. And this is something that we can use as a feature to design a monster. And now we're going to make the eye, eyebrow area, or rather big as if it's this goofy monster. And let's make the arms of the monster being inside this fluff. So just design, just draw two spheres and each side and a signifier, just this line here and this one. And just draw these nails again on top of the line and the thumb. And here as well like that. And now we have three completely different monsters. And now I can just be creative and Use the elements that I've talked about to design a different monsters. So now, what do we have here? We have a small body. Maybe this is kind of volar gum. Like an alien or less. Design this head. And let's have the arms. And you see, I can design something as I go. And I can use this sphere here to have the legs of the monster. So I'm just going to split into and his body and the head can be unsymmetrical. So using this sphere and split into, and have his and his legs here. So I can be a more of a human-like monster. So what can I do to make them multiple looking humanlike? Well, I can put some pants on a monster, so I'm just going to split this line and have his body being a rather small and these be pants. So I'm just going to shade it to signify a while. These are pens and I'm just going to do this lines here as being a very, very tiny feet. So this monster, cube monster will have tiny legs, dynein body, but huge, huge head. So what can I do here to have the monster? I can do Something that he is an alien. So I'm going to do some kind of odd tentacles in a way like that. And I'm just gonna do many, many spheres going different directions, like that being the last one being the opening of the tentacle because they are not symmetrical. And now I'm going to use our same assymetry to design some kind of uneven shapes. So I'm going to use one eye here, looking from under the eyebrows. And I'm going to use maybe a long nose like that. The sphere and eyes looking from underneath. What else I'm going to use. I'm going to make this guy a Radha open and I'll symmetrical bigger than the other one. And what else I'm going to do? I'm going to make an angry mouth. The other feature that makes something look monstrous is the facial expression of something most of us are for someone angry. And what else can I do here? I'm going to do some wards. Because again, words are, I'm a defect on the facial and the human body. That is not normal or that is not perfect. So I'm gonna undo that. And let's do have some teeth like that. Maybe you can have more tif. And immediately it looks like a monster. What else can I do here? Can I do something, something other than that? I can put even some forms. I mean, you can put whatever you want. I mean, of course, don't go overboard with putting everything together. But why not try it? So this is just a monster. And I'm going to have his arm being very tiny. And I'm going to design one on here as a ball and one on there and some kind of, uh, fingers. I'm going to make them some kind of a human-like fingers like that. And now we have four different monsters. Now, let's go with a black pencil and see how we can refine the features in the next lecture. 4. 03 Refine your design: Hello there and welcome back. So now let's refine or foreign monsters here, cute monsters. And see what kind of characters we get. Because you see so far, we've had the sketches, we've had this a rough lines. But when you draw something with a black pencil, It's kind of give you a sense of definition of completion. So whatever you draw with, especially with blue pencil, is something that it feels temporary. It feels like, well, I haven't finished this piece of work, so don't look at it and don't judge me. I'm just as a working progress and this allows you to make mistakes or to try out. It is not called making a mistakes. It's called trying out our design. While because when you build a house, you can just make the drawing and just draw a perfect house. You try out your measure and you put different pieces together. And this is also how you maybe decorate anything and decorate your room. I mean, you don't just put everything there and it's perfect. You tried out and thus how you work, also web design. So this is the first author and you see that just putting simple features like that to having one eye and two teeth by using also on character as a child features, which is a big eye and small mouth, makes this monster look rather cute. And let's design this other most error with the tentacles. And here you are free also to refine and put more details or something that is called the graphic elements on our own, your character, like something for example, we can have these tentacles, have this skin issue. Think here like big holes or something on the skin. Something that we've seen, octopus have this deformities and putting that in amongst our orange, something that has a face, I mean, that looks monster rows. Anytime we have a face on something and have features that lead us to believe that this is something of deformity, then this looks most Euros to US. And knowing that while then you're free to design any kind of shape, you can use all the shapes that I've shown you. And now I'm going to put this tentacle behind the body as if the authentic and continuing behind this body. And the why I do that is I shaded with the darker color. Because when you shade something that is behind something else with darker color, it immediately looks like as if it goes behind that. That's shape. This is a trick, InDesign that it's good for you to know. So let's have this tentacle being here. Like dots and also some kind of deformities or some kind of dots that look like holes or awards or something. And a happy little mouth because these are cute monsters. Muscles can also be cute. I mean, anything can be both monstrous n cubed. And that's how you make it. You try to give the character this around newness of the shapes and large eyes. Rather software TIF and give a facial expression that makes you feel happy. And then the muscle doesn't look as scary as it looks rather cute. And the deformities that you put in the monster, they look kinda are part of his personality and it looks cute. And that's how you normalize this character as something that can be a real bad, something that we are not afraid of, but rather makes us laugh. As you can see in Monster shrink. For example, how all these characters, even though they're supposed to be scary and because of their design, the actually makes us love. And I'm going to put this darkness around the shape because the eyes then stick out even more. And also it creates some kind of tiredness of this most around the eyes, which makes him looks cuter. And now we have this most origin's basically a blob with horns and tentacles. And now let's define even or other monster that is kinda like a yeti. And you just go all over and design the hair. And this one here. So a hair can be just in this array and you can have as many hairs as you want. But a room of Tom is that where you have the hair falling down there should follow this direction. And here, when all the oldest gathers, you can have more chunks of hair. Because these are not just separate hairs. They are chunks of hair that gives an impression that the character is free. That this is a four. And this is a well-known graphic element in cartoon of how to generalize certain elements of the body or altogether. And now let's make the toes. And here we have the taus already. And here what we can add is actually sharp nails because we already have or character was looking cute even though angry. And we can have this sharp nails that are also little bit around it. Because what we want this character also to look goofy, like a goofy little uncle monster that is scary, but also very likable and tries to be scary, tries to make use to complete his job well of looking scary, but it's rather goofy. And if you see this kind of a fluffy monsters, you kind of like wants to cuddle them. You're not scared, really bought in first look, they need to be repelling to us. And now I'm going to make, to go into live one white spots here as if his nose is glossy, glossy and read like that. So this is the other amongst term. And now let's go ahead and even refine this monster. Daddy is just with a square head homes and some kind of alien bar, no antennas or tentacles here. This is something that we designed just along the process. And thus basically how you do it. You start from a shape and maybe you squint your eyes. You let go of all the masts and all the rules. And you just try it to see a shape in what you're doing. And there is nothing wrong with anything you actually design. Because this is something that is guided and bio subconscious. And the event that the four motives will come natural world to you because we tend to want to design pretty things. But if you have in mind what the kind of deformities, they're out there. And you try to put them in on this character, on this shape that you've already drawn, you will immediately get the monster. And the way I told you, it's very, very easy. And this is with the eyes like that, which are unsymmetrical. It makes him look a rather angry. And now I'm going to give him another black around the years, which is signifying tired eyes. And what does, what does lead us to believe while it led us to believe that this creature is not sleeping. And what is it doing when it's not sleeping? Well, it walks about in the night doing stuff. We don't know about people with dark eyes. They haven't been sleeping, they have been restless. And why are they restless? So these questions are in in-house just subconsciously. We don't necessarily think about it. When we see it. About tired eyes tend to lead us to think something wrong with this person. What's going on and something dark going on, because we are supposed to sleep at night. We're not supposed to go about doing things. And if you're doing things something that it's something. Is something we need to hide because it's dark in the night. And if you're hiding something that we do that feels threatening. We don't know what it is. So these are, this is the process of thought or at least a feeling we get without even asking. So here I'm going to design their arm, the hand, rather human like that with tiny, tiny fingers. And I'm just going to continue this line and have him have a human body. And now I'm going to have these trousers and something that I can put in there as well. Maybe some kind of a cape, like a Dracula. I mean, I just came up with that, but the cost, it has trousers. The cape, uh, will actually look like a Dracula. And now we have on Uganda Dracula with tentacles, wherever this Dracula is. But that's how you come up with new designs and thus how actually you become original. Because you can never create these designs. If you follow just a well-known design, you need to come up with your own ideas and this is how you do it. You use elements that everyone recognizes. I'm just going to design the scape like that. And the shoes are just tiny, tiny shoes so you can just draw them as stretches like that. And we can have just one button from this white shirt because we just decided to make this guy a Dracula. And let's have his pants being black. So we shade that altogether. And let's have his cape on the back and his head is so big. So we don't see it. We don't see where his neck is. You have the rest of the cape or what a cape begins. So we're just going to shade the cape, even though you draw with just two pencils, you can eat. You can also create the sense of color, and you can do that by shading different parse in a different way. Sums, sum, you shade lightly like the pens. So even though they may have the same color, black with the cape, we see that the pens are in front of the cave. So that darker Something is the father of way. It appears to be like in this example. Like that. What else can we do here? Well, we will started with the words unless add more wars them. And one word here, and one here are tiny one. This guy has a problem. Well what else can we do? Or we can have an shaved on shaved head. And this is another trick that you can do because besides the puffy eyes and the dark rings around the eyes, why we see unshaded guy, this is also an indication of neglect. And why is this neglect? This is something going on. This person is not feeling very well, is been, not been sleeping. So something weird has been going on. And this, we associate these features with some kind of a threat suspiciousness. And if we give that to all design, well, it will just enhance the most diverse look. Something that we can be scared from. But because this monster is going to be cute in the way, and what makes it, what makes it killed is this big eyes actually and this g being rather rounded and the shape is being kind of unsymmetrical. What, what else contributes to the cuteness is actually the proportions having a big head and small body. This is what the children have. They have smaller bodies or at least their body appears smaller in comparison to their head, in comparison to grownups, basically. And we tend to think that kids are cute. So when you see features like that, you tend to find this character being rather cute then scary. So these are basically elements put together to create a perception, to create an idea for a viewer of something, something that you want to convey. So, and these are the forest for monsters. And you see that we do that easily by just finding the elements, finding the shapes, and let our subconscious guide us into designing these characters. Now let's continue with the next lecture. 5. 04 How to draw Monsters using only spheres: Hi there and welcome back. Now, in this lecture, I'm going to teach you how to make a very, very simple and monsters. And we're going to have a different approach. So you're only going to draw approximately from the same design. So I'm going to make different spheres. They will all have that as a base. And I'm going to do designs that start with a sphere. And we're going to apply these different principles now or let's have, this one has tentacles. So it has eyes as the tentacles like that. And let's have this one, have many eyes. And let's have one eye on a tentacle. There will be a similar design. This one, Let's have one big I hanging. And this one. What can we have? This one? And let's have one eye in the middle of its body. And in this one, let's have him having his eyes on the side. And now let's put the pupils. And this one, a bigger one. And this one is here, and this one here. Now, we already have five different monsters. Most are basis. And you see that they come from the same, on, the same design. And this is because we started for it, the sphere. Now let's draw their mouths. This one, we can have the mouth over here. Let's have all the monsters smiling m. And this one, we can have the mouth over here. And in this one we can have the mouth over here. And those have the whole face and the whole body, the mouth. And this one, we can actually have the mouth being over here on the side. And in this one, we can have the mouth being on his head. Now, this is the fondly doing monsters because you can do anything and you can also actually have a mouth. Being over here. To mouth's. Why not? So now let's design a very, very simple monster's body or monsters legs. And this one, we can have the legs being just sticks and a half. Some kind of our shoes saw some kind of ellipses for shoes. And this one, Let's have him have only one big leg and you'll have one ellipse like that. And in this one, let's have him have some tentacles like dot. And some tentacles being over here. Does vary this proportion that actually, because it's a monster, it can be anything. And in this one, let's have him walk on his arm. So just have the arms over here. And we can even have the legs being on the side over here. And in this one, let's have his legs being like a spider. So we'll have 1, 0, 1 curve over here, and one curve over here. And let's have Two more legs that house are more of a spider kind of shape because it's kind of monster rows. And now we have these different monsters. Now let's draw in their teeth. And we will have this kind of TIF. Because besides that, they are monsters. They're also cute monsters. We are still on the cute Monster team. And, and this one will have just two teeth and this one will have a larger, larger teeth. And this one is like that. And this one has also around teeth. Because the disproportions and just the way these features is, features are, are so unusual that this creates a monstrous look. And that's how his mouth, they're being giant teeth. And this one here being an unhappy mouth to mouth ofs y naught. And I'm going to shade it is part here just to signify that there is a depth to the mouth or inside the mouth. And the TIF will come forward even more. And this one is here. So what I'm gonna do here as I see that this month, I can just enhance it in having this kind of ellipse as well. Because the mouth is on the side. And also, what else can I have now? So we have that the monsters arms. This one will have kind of arms like that. Maybe let's have just sticks for arms. And this one here as well. It's a very, very simple shapes. And this one is maybe going to have this kind of arms. Just like a like, a little bit like tentacles, like a chunk of hair but like tentacles, rather thick. And this one has tentacles and this one is actually standing on his arms. So let's enhance dot like that as arms. And let's have the feet like dots with as if it's having some kind of shoes, but it's just like one shape. So, and now let's enhance the monsters with the black pencil in the next lecture. 6. 05 Refining the Monsters designed with spheres: So welcome back. And now let's make, or monsters come to life when drawing them with black pencil. I like that and enhancing the features. The TIF. And let's see if we need anything else to do. And really here, because the design is on, is always a little bit of work in progress until we find the right one. Let's have the feet here being standing on the ground. And the hand here. And let's around the body. And here is one hour of heavy monsters. Now let's have this one, 19 in the air hanging. And the other ice together gown see in all kinds of directions. And this one also around body. Mean. You can see that these monsters can be easily or toy monster. They're pretty nice and very, very simple. If you have clay or plus filename, you can model this monsters because they're so simple to do and they're so cute. And this monster will have only one leg. If I'm maybe jump like that with just one leg. And this one here. Having one big I and the whole body is just a large mouth smiling. That. And you see that it's so easy to draw with a black pencil when you already have the sketch of your monster already. And you know what to do. And the shapes are so simple that it is actually impossible to fail, impossible to, to do it wrong. Because any design that you do is going to be a really just another character and another little monster. And it will have, it will have. Their own personalities and features. Because like when the personality comes to life, kind of lead you to a lot of ideas. Who this monster is, how the wall, like, for example, this one walking with their hands. I mean, how would they talk? And how would this gesticulate? How the body language of this monster be when need gestures with his feet or with his legs. That's kind of funny. And it will have a different kind of body language which will enhance the weirdness of the monster like that. And this monster with tomb house, it's kind of a spider looking monster that has two miles. And this is also funny because for example, you can come up with stories from the design of your character. Like this, this monster who has two modes all the time. And the upper mouth of this monster is always happy and positive. And this monster always argues with itself because it has another month that is always negative. So the monster is never happy or it's always happy. And they always argue. And it looks like a grumpy, grumpy spider would never agrees with itself, always into modes. So let's make the legs of the spider just very, very simple. And we get a very nice character. And here are the eyes like that. And what else can you do? Because if it's spider, here, we can add a graphic element that is kind of hairy, hairy spider. So just enhance the monstrous look and the spidery look with some hair on top like that. And this one, it can have some kind of our freckles in a way, but the freckles are more var, pimples. Because this guy looks a little bit like with his teeth. It looks a little bit like a teenager, like a goofy nerd. So enhance that feature with enhancing his eyes, just popping eyes out of his body. And kind of a Franklin kind of look like a teenager. And this one is kind of all funny little guy and he has a lot of features, so we're not going to add any more features. And this one might have a little bit our hair like that. Why not? If you want to? And this one is kind of already completes. Just enhance the eye and maybe add some texture on top like dots, like a graphic element to enhance these features. And here we have five simple monsters. Just designing it from the round shape, starting without end finding the feature one's features. One, we go along and you see how many different expressions these monsters can have. And let's continue with the next lecture with more fun monsters. 7. 06 Designing Slimy Monster - Part 1, A Blob: Hello there and welcome to the next lecture of designing cartoony monsters. Now that we know the elements that make them monsters look like monsters, Let's take a couple of those elements and just designed specific curls. Pacific motors. We're going to start with slimy monsters. Slime is pretty disgusting. I don't know why. Well, speaker some things we find repulsive. So what are, what can the slimy monster look like? It can look like a blob. It can look like a lizard. Something that has smooth skin, something that is That's Lime, can easily cover its body or easily be on it. So let's start with a blob. So maybe let's have the sphere again. And let's have just draw a couple of spheres just to form its body. Because of lime is basically it has no shape. And that's why it is very forgiving to draw a line because it can be anything, it doesn't have a body. So I'm just going to do though around a shape like that. Just do it freely in our daunting too much. Now let's build a blob on top of that. Just, I'm going to trace what I see outside of this line. I'm going to trace the outer part of the lines. And I'm going to let my imagination lead me towards some kind of a chunky slime and the North line, a blob, blobby slide. It just falls like on different layers as because it's thick, liquid in a way. It does falls very, very slowly, lower than water and it builds some kind of our liquid layers. So just signifying with a roundness like that, we can simulate something that looks like liquid layer like that. And it is also creating an illusion in an illusion of body at the same time, an illusion of material. This is something for you as a designer that you need to, to know and to learn. So this is something like a slimy blob. You can see that just with this thick layers, this stick around and like that, it creates the idea of a liquid falling down very slowly, or any of these monster is walking. We'll just leave slime behind it. Just traces where the same liquid. So this is the kind of a blob. Now let's create its face. And here you can place its face anywhere you want. But I need to take a direction. So I'm just going to put a face over here. And I'm going to just put some eyes like that. On each side. This is the line from which there is symmetry of the face. And now what else I'm going to use for this monster? I'm going to give him a really, really broad smile. Why would I give a broad smile? Because I'll have more space to give him sharper TIF ME now sharp teeth. It signifies danger, and that's why we see something similar star in that like that. So now one thing that makes something look even more scary is leaving the eyes completely white. You see that looks pretty sinister already. But we want to have the most, or maybe being less scary and more acute for that matter, we can give him or her some ice. And in that way, we humanize the monster a little bit more and makes it less scary. Because you see that the women in the zombie movies, when you have the eyes being totally white and doesn't have four cuz they look very UNH human. They look like their eyes. And thus pretty scary. So for a monster, if you want it to be super scary, just leave the eyes white. And now I'm going to have the mouth open like that. And having the most are laughing sinister love. When a monster that looks scary is laughing, it means that this monster is winning. I mean, it has a good time and one doesn't monster have a good time when it goes, It's why N1, something monstrous goal, goals the monsters way. Well then it's not good for us. So having a monster smiling is creating kind of a sinister look of that monster. So here we have one most derived. We don't really need to do anything else. We can just leave it like that because doesn't need to have hands or feet or anything. So this is one of the monsters. Now, Let's refine it with the black pencil and just see what we get. And I already have it there because it's so easy. Monsters give us the freedom to design very funny, believable characters with personality that are easy, easy to draw. And that's because they can have both human and non-human features. So no one will complain about this kind of a blob because you've never seen a walking blob. Everyone have seen a walking human. So you have kind of a preconceptions of how a walking human should look like. And when you do something that is disproportionate, you can, people can immediately notice was not writes about having a blog walking well, no one else in doubt. So however you draw it, it will look good. It will look something that you've created. So you can explore those elements as much as you want. And it will just lead you into designing and more and more fun character. So here is our blob and, or first slimy monster. So, and that's it. So Nancy, Let's go ahead and do another monster. 8. 07 Designing Slimy Monster - Part 2, A Lizard: So welcome back. Now let's continue with or slimy monsters design. Now what else can be slimy? I mean, lizards, lizards can be slimy. So how would a lizard look like? Well, it can actually be a combination of a couple of shapes. It doesn't have to be neither justice snake or another kind of specific list, or it can be just the combination of all of them. So let's just create something like lizard-like thing. Maybe with a tail like dots and less design the head like that. Let's find the middle of the head just with a line approximately. And this is like a line that's placed the heads that this fear or this ellipse S2 and less just again, giving more of a broad mouth. Let's find the middle line. I'm going to place it over here as the laser being in three quarters. And let's design the body. I mean, we have the body now over here, I like a line and you see that I do though the line, I don't give the lines completely straight because I want to kind of get a feeling of where the body is going to be. So if you want to have an even more precise or even more help lines or help shapes to Forum this lizard, you can just doodle some, some spheres or some ellipses on top of the line. And just scribble a little bit like as if you're, if you're knitting on top of that. As always, if you are placing some kind of a material on top of this line just to get a more thicker shape of this line. And what will help you find the lizards form is basically these kind of shapes here. Because he will, your brain will try to connect the shapes and find a more united shape. It will lead you to see a shape forming from all these scribbles. So you can just follow that and connect the upper part of this shapes. Have you brain lead? You don't wonder if it's like, Shall I take this line or this line or this line to serve your brain lead you. And even if you want, you can squint your eyes because then you will see the shape much, much clearer and asked form the shape of the tail are possible tail and the same thing here on the lower part. And Same thing here. You can start from each corner of the body that you want because you kind of already have a guidance of where to put these lines. And and here we have some kind of a lizard tail. What else can we have? Now, let's have this lizard having a really, really white eyes, as we said, is going to be like scary eyes. So I'm just going to put them here and I'm not going to put any pupil in them, and I'm not going to color them black as if their pupils. I'm going to leave them white as if they don't have life that will make him more scary. And I'm just going to make some kind of a snake, kind of a lizard here. And I'm going to also design the teeth being sharp and an open, wide open mouth. Like that. What else can I make? How? How can I make it? This lizard, slimy lizard, Alex, look disgusting. Well, what else I can give them? Like arms. Why not? I can give it arms. So I'm going to have as if this is the stomach. So I'm going to make a middle line over here and the lower part of the stomach will be on the ground. So I'm going to approximately estimate that I want the arms to be over here as if there's this, our shoulders, our lizard. So I'm not going to make some lines like that. And this one here like that. And I'm going to make some clause like that. This is a scary monster look. So I'm going to just make some crooked lines symbolizing crew loss. That is also of threatening expression. And I'm going to make the yarn just slightly thicker. So it goes thinner at the wrists and it gets thicker around the shoulders. So it has a more volume and it's more of our expression that is similar to this design because the body is also thick. So but you can do really, you can explore design, do whatever you want. And what else can we do? Let's add some words on it. Some blobs, our Arduino, some kind of disgusting things sticking out on its skin because he now we are repulsed from things. And that looks a little bit like they have skin abnormalities. And as I said before, we as humans have this biological thing. He knelt that we, we want to preserve health. Of course, as biological organisms. We want to be healthy and we want to gather and to hang with healthy individuals. Because it is about basically surviving, it's about our survival. So things that repels us are things that can symbolize disease or something abnormal that can harm us. So we instinctively stay away from these things. And if you want to make something scary and something threatening, just put these elements even though, I mean, these abnormalities are not as scary perhaps, but they are there making this monster long disgusting. And it makes it look threatening something that we don't want to have at home as a pet or many maybe do. Maybe helps makerspace, it's like, but that's why we are repelled by dose. Maybe we can have some kind of a lizard-like or Dragon like. Back in. This is also an element that we've used to see with dragons. We don't know whether they have doubts or not. But we've used to cement. So now we have our little slimy made core, whatever monster. Let's see, refinance with a black pencil. And you can do as many of those as you want, or really, and explore different kinds of designs and shapes. Slimy, slimy things. What else can be slimy? Or perhaps a food in your fringe that has gone bad. That can be a monster to Illinois if you have, for example, a vegetable that has gone bad and it's really slimy. You can use that shape and creates a monster out of bed by adding some kind of these features to it. And now I'm going to give this kind of a lizard-like lines, a graphic element that symbolizes that these, that these creatures specifically has a stomach and he has a kind of a skin light like a snake. It's a tick scheme, a nice glossy. So if I'm, if I'm to shade it and you put some texture into it, that's who's going to be like lizard-like, snake-like skin that will make it look even more monstrous. And is this kind of a bifan that symbolizes dragon. So it's old kind of abnormality is not only that, it's a snake and is not only a snake, it is a creature that we haven't seen before. And I mean, we're scared of snakes, many of us, some of us now, but we as mostly are scared of snakes because some of these snakes are poisonous. So we tend to prefer to not come near them. Not only that this creature looks like a snake, it's something even worse. It's something more than justice make and something that we don't know. Something that is unfamiliar to us is scary for us. So use that element as well to put it on your monsters design. And here I'm going to make this kind of a pattern on the body to signify this kind of a skin. I got fish-like scheme. And this is another kind of monster. I know I put some darkness around the white eyes because that will make the eyes tick also, it doesn't saw the eyes don't look like, for example, there these blobs here, these words. But they look like if there are shining, that there is light within these eyes and they look scary. So here is another monster. Let's go ahead and design yet another one. 9. 08 Designing Slimy Monster - Part 3, An Undefined Blob: Hi there and welcome bike. And here we have, or to slimy monsters. This monsters can do well in slimy situations. Now spammy. So let's continue with another monster here and what else can dislike me? Let's have again a very amongst their dealt look dot looks like as if it's a big bear or a big chunk of something, undefined thing. So let's give it a two body parts like dots. But it's like a Bayer and without without four. And you know, even though we humans are big bears, were about four either way. But you know it when you see something that is all wet and galena forth battling an animal, it just freaks you out. And so let's have this head like dad and nobody like that. And let's have this big creature has this big chunk of meat here, just being, it gets us and slimy just a skin here. So Let's do that. And let's have the eyes being around here. What I want to show you is that you don't have to have always a face. Here. The phase can be anywhere. And you can use different designs, different approaches for the same character. If you can do the same design a couple of times and you can place the face here or the phase here or here. I mean, there's no really rude to it. Or what you need to know is just that putting these elements that can make the creature looks scary. It's the most important. Let's design that if this monster restrict quarters, I'm going to separate, make this middle line here that separates the face into unsymmetrical part. And I'm going to make the eyes of this creature being here. And now what I'm seeing here is kind of like a whale, whale kind of criticism going to take downs. Well Christian, you know what else reminds on the sliminess if it has like skin wrinkles on its skin. So we know that it's supposed to be further about della more wrinkles here and it looks like a enhances the look of the sliminess. And what else can we do? Let's create a shell. This monster have announced, Yeah, Let's create his nose. Here. I know there have been an image on the Internet about his really, really strange slimy creature that maybe everyone has seen. And it looks like a big blob with the nose. So let's put that in. What else can we do? Can we have while working, we have the mouth here. So we have some TIF file. Let's have the teeth being just on the NIF, this mouth. So we don't know how this mouth looks like from here. But it's surely looks very, very weird. And let's have a naked, this creature having a makeup stomach, soil, just humanize that a little bit. A creature that Lu's Health fish. And how human August nozzle predict creature to look at, right? So instead of having some eyebrows, Let's continue with the wrinkles here. Skin wrinkles for the sliminess like that. And let's have even the nulls being more wrinkly and tired. And let's have the belly button here. Belly button symbolized with that this creature is naked and it gives him even more human features. And show it does feature have legs. Well, because we've enhanced this, this creature being this big blob, Let's give him like tiny legs. So it makes this body looks bigger. Every time you want to make something bigger, you have to draw something that looks smaller in comparison. So we know kind of like what human proportions are like. And having this proportion being in this balance. Like for example, this tiny legs and be having very, very tiny arms. I'm just going to signify them with just lines here. And let's decide whether we're going to make them thick. I'm going to give him more volume and we're going to leave them like dusts, small, small lines here. Let's give them then some volumes or we can put some wrinkles and on them. So let's have one arm being here, just a very, very tiny one. And let's give him some wrinkles around the arms. And this one just signifying an arm with a volume. And let's just have again some human-like legs with having ties on top of it and having some in calls and some human-like legs about this time, let's give them some more male, so human-like legs with nails and thus pretty freakish and scary. And immediately you have an element, then brings you closer to a design of a monster than a design of a human. So small details like that. What else can we give him? And the slimy monster, Let's give him some kind of on water drops or slime drops. So to signify that it's slimy. And this is kind of an element of a water drop design. So what else? Let's give him some more words here as well. Or maybe just big because or skin abnormalities. Another thing, more justice big. That can be also spots on his body. And now let's go on with the black pencil and refine these creature. Even more. And now refine even its arms with some clause claw like elements. So the arms here and the body here. The legs can harmonize with that design as if it's a real anatomy. So that's another thing. If you put an element in your design, try to repeat it somewhere, somewhere else because that's a creates a more, a unity to you design. It gives you more unbelievable look, are via just dab design. And so you dislike has thick lines, then you should also have thicker or thicker arms. If you design the legs to be sticks, maybe you should also design the arms to look like sticks as well, like a stick figure. And this is, there's no wrong thing in that. You just have to be consequent, would your design. That's the whole thing is about. So I'm just going to make this, I just been also white with no pupils in them. That gives them most diverse look. And I'm going to decide this nose and also give them some awards on the nose just to make it look more disgusting. And wrinkles around the now's the analysis hanging. And you can't even imagine how disgusting this could be. One, the monster is sick. Or maybe it's always slimy because it's a normal behavior. And now we'll design the TIF or we'll just refine them to be more defined. And here we have already are really, really interesting monster. And you can see, you can start just from one shape and just follow your imagination. And think of these elements in your C-like. What else can I put there and just put it there? I mean, you can go really wild or we're designing this stuff and this is so much fun. This is something you can do while you're sitting in the commute. Of course. If you're not driving, does not gonna be good. But if you're sitting somewhere in sitting in on a coffee, in a coffee shop. And at the moment, and we are living in these strange strain time through the worst pandemic ever. And first of all, you are not, not so many of you will be sitting in the coffee shops because of the lockdown. But designing monsters, it's kind of like a little bit of morbid kind of experience because it's kind of a pandemic kind of theme, right? Zombie thing and the world has gone in dual zombie mode. So you can see without in front of the TV watching a nice movie, watching a nice zombie movie. Maybe if you're like Monster LLC, probably like dots and a good story. Even though thymus, the story is always refreshing and it brings you in a good mood. So, and so does our nice design when you complete a mild designing, create a nice monster, can bring you very quickly in a good mood. That gives you some flow. Tui, if it gives you a fun really, even though you are designing scary, scary monsters while and not that scary, but he know what I mean. So here is, I'm shading these elements here just to create more depth to this shape. So anytime you want to have something, have more depth, just shade the part that is around it to make something stick out. So if I want to have this head stick out from the body, I would just say the body a little bit to make the head stockout. So this is something that you can think of if you want to get more volume to your character without adding any color. So here is our third slimy monster. Let's design some more. Let's do that in the next lecture. 10. 09 Designing Slimy Monster - Part 4, A Monster with several eyes: Hi there and welcome back to the section of slimy monsters. And let's continue having fun with that. And now let's do something even more of normal. Let's design a more thorough with maybe several heads, slimy monster with several heads. What would that be? Just less start with doodling. Something that led to you an imagination lead you towards. So this is something also allying with the lizard skin. Maybe something like a Medusa embodied has several heads or maybe several eyes like tentacles, eyes attached to the body, and some of the eyes being on the body. This is also something freakish when you have too many eyes looking at you. Usually when you have only one eye looking at your, I mean, a pair of eyes, not just one line because the US also freakish. But if you have someone looking at you behind your back, you kind of feel like freaked out because you don't want people, especially people that you don't know, to stare at you and imagine some creature that you don't know what kind of a creature dot S staring into you with many, many ice does pretty freakish. So let's just design more ice here on this slimy, slimy creature. Or it's slimy, slimy eyes with some kind of a lizard like ice. And what else can we design? Let's have this creature. Human legs, or maybe legs like a lizard, like a dinosaur. So I'm just going to split this ellipse into like that just to have the middle part of this possible body. And on each part, I'm just going to start to rough out with spheres again where the legs are going to be. And now I want to have some kind of a lizard like eggs or a dinosaur, a dinosaur kind of legs. So I'm going to have, in order to have this kind of structure, they have this upper part of the leg here and the TI go back and then lower part of the leg go forward. And then they have some kind of ON clause or chicken like legs. So I'm going to use that and I'm going to design maybe I'll sphere here and a sphere here. So this is where the knee of this creature goes back. And now I want to have another sphere here and another sphere here for the NCL of this creature. So I'm going to make a line here and a line here to connect the upper part of the time on both legs. And a line here and a line here to create, to connect. Knee and the ankle of this creature. And I know I'm going to make some a placeholder for these creatures feet. And as I said, is going to be like a chicken kind of leg. Something like a dinosaur on this slimy monster. And now I'm going to make a line here, a line here, and a line here to approximately mark where these critters legs aren't going to be. So now let's continue with the eyes. And I'm going to have a tentacle here and then dentical here. And this iss going to be on his body. And these two these two and I'm just going to just just put some ice around, you know, when Kim stair is scripture or some kind of a spider, dinosaur, chicken like slimy monster with many eyes staring. And one huge one. Which one is the boss of all desires? This is another story. I mean, you can do that, you can design, you can create more stories from however this design is becoming. And this time I'm going to make the eyes looking like a, like a lizard Chi, kind I saw they are not cute like the other Walters, but they're kind of like a lizard that has this this kind of shape is just a line and it's observing you and the eyes are looking in different directions. And you can imagine just adding this feature that has this, this line as, as ice. It immediately gives you a suggestion that maybe these eyes are yellow like lizards eyes. And so I'm going to skip the arms of this creature for this design. And I'm not going to connect the tentacles. And in this kind of eyes being on the body, just refining it. And just now I need to design how these eyes are connected. Are they just completely off skinless or do they have lock? And I decide that they should have locks like that. So they blink like a lizard and they can blink if this animation of if it's an animal that is for real, which we are trying to accomplish here, that looks a real, You should blink in different in different time. So they have these eyes blinking all the time differently and there is no need to follow the symmetry here. You can play with the shape and you can design whatever you want. And let's design this ties here. So I'm just going to, to draw on top of this sphere here as if this is the thighs. And I'm going to connect the ending of this sphere with the ending of this one here, which is now the knee of the upper part, the knee and the leg, and the same thing here. And now I'm going to do. To connect this part of the sphere here or this one. And this part of the sphere here when the lower one. And now I have a chick kind of chicken legs. And let's do that for the other leg. And like that, this is a very simple way how you can manage the shapes and the anatomy. Even in simple things, when you place fears, whatever the joints are, because our joints are basically they are like spheres. Now if you summarize them and if you try to describe them in a way. So i now let's have this shape. The chicken length, they are like bananas and there is one leg, one little toe nail on the back end just in design, some kind of a banana kind of clause. On top of these lines that we already designed as a placeholders approximately where we want this. And they also go on to b. And now we can also live the nails being just sue because in chicken on these other creatures that have three. But because we want to find more abnormalities for this creature, we're just going to leave that to being abnormal. And now we have a carnival monster that is more of a sci-fi monster instead of a more of a cartoony monster. So let's go ahead and refine this creature with the black pencil again. And here you can think of the details. Because now that you've been just playing with the shape, you started with the idea of being having a slimy monster and this particular slimy months thereafter designed others like me motor have brought into the idea of having some kind of a lizard-like thing, thing. And from there, we took the idea and decided what, um, what is freakish is having a lizard with many eyes looking at you. And from here we decided, let's put some of the eyes on tentacles. Thus looked dot looks really, really scary. And let's put some of the ice on the bodies on not only that, you have four eyes that are looking at you. Let's have more and more eyes that are actually looking like, like warts on the body is actually, they'll actually looking like deformations on the skin, which is even scarier. And from here, you can start thinking of details of how we can make those eyes and these body looking even more disgusting. So you can add more of a graphic element. You can have these eyes not being inside the body, but being like wards as we talked about. So you can just bulges them up a little bit. And how you bought the mob is by creating just a little line like that to have this ice stick out. So they look like wards. And later on we can just do the shading thing that I showed you for the other monster. To signify that those eyes are boating and they are like words. So use all the possible elements to create this kind of all freakish creatures and justice. Monster having a completely new species basically, because you never seen something like that. But all the elements are pointing at something very and repelling for us. Where the chicken legs had the Crito having no, no arms but lots of ice. And being slimy, you can imagine this thing being slimy, doesn't have any any four. And you cannot have any clothes is just slimy. So how do we signifying the sliminess? Maybe just define any web graphic element and symbolizes fish skin. And now we have a fish, a fish skin illustrated like that. So you can put some of these graphic elements. You don't have to draw all the fish skin. You can just put it on in a couple of places. And this will give an, an impression that the oldest creature has this fish skin and it's slimy. So even here, just smaller. So because we have a smaller shape and it will make the thing look more believable. So it's kind of like a fish, kind of lizard, Greater chicken, anything slimy. And let's just shade around the eyes or around the law part of the eye. Which means that this, these eyes are casting a shadow on the body as, as if there is a light coming from above. And it gives, gives us more volume and make you accept the illusion that the eyes are just as blobs sticking out. And that is what you want to do with your design. You want to create the illusion of something being three-dimensional and real, even though it doesn't really exist in real life. And this is your part as a character designer to do that. So here's our chicken monster. And so here are our four completely different slimy monsters. We started from different approaches and you see how many ways there are to draw even slimy monsters. Now, let's continue with the next lecture. See you there. 11. 10 Furry Monster - Part 1, Design: Hi there and welcome back. Now, in this lecture, I'm going to design a new monster, and it's going to be a hairy monster. And here I'm going to teach you how to, Paul's your characters, how to draw your character from different angles and in different situations and different moods. So let me start with designing the monster. And I'm going to choose to draw a very simple monster. Because if you are a beginner, you may struggle with posing your character if the character is too complex. So let me start with just designing a very, very simple monster using a sphere. And it's going to be a hairy monster. So I'm going to design a monster with one eye, which will make it bold, very easy and a little bit more difficult to design poses because we're used to give emotions to character with two eyes. So I'm going to place an eye on the top of the body like that. So just doodle some spheres, and let's design the eye. The pupil here is going to be a cute little monster. And what else we're going to do is we're going to make an eyebrow. And the eyebrow is going to be detached from the face. Because this is cartooning. You're allowed to do anything and thus the fun part of it. And also, let's have a large mouth of our monster. And let's have him smiling is going to be a cute for a monster. And again, just doodle the mouth and less design the teeth. So just play some some teeth and you can round them up to enhance the cuteness. Like bounce. And we're going to put some hair on top of it. So how can we do that is not, we are not going to use the graphic element that we already did with the chunks of hair that was like that. But instead we're going to doodle the hair. And the hair will be a rather dark. Because if you have that, you will see that character as a silhouette. Now why is that important? To see the character as a silhouette? It's much easier to pause because you can see the whole character. You're not going to be distracted by seeing Jaws, the sphere, or just elements of the body. The more you'll use a silhouette to pose your character, no matter if it's a monster or any other cartoony character or a character, the better is going to be. And monsters are especially good to use in this case, because you just make them for a, and you just make them darker. And here is your silhouette that you can use to 1.5 to pause cartoony characters. Also, what else are we going to use? We're going to use sticks as legs and arms because adult way, we don't have to. And design and to be distracted by drawing photorealistic on anatomically correct legs and arms. Which can be a little challenging to think of fingers, to think of tolls, to think of where the knee is. You just simplify it. Because it's a cartoony character and you can easily have a monster that look pretty real, but it just have simple shapes as arms and legs. So here is, or cartoony for a monster and you see how easy it was to draw it, to draw him. Or it sound. Now, let's refine it with the black pencil and may make it look even better. Mde prepare that character to port in different poses. So I'm going to leave a little bit of white again to signify as if it's a glossiness of the eye. And this is the light bouncing on the surface of the eye and mimics if I look more alive. And this is a little trick that you can use. And I'm going to draw the mouth. And actually what I'm going to do also with the mouth because it's going to be easier for them to see the mouth of the whole shape is Harry. I'm going to just draw lips on this character. So I'm just going to thicken this mouth a little bit and make it some kind of an odd one, cartoony mouth. And this is because I want to have a contrast from the body to the mouth. And I want to be able to make the character, even with a closed mouth, but not have the mouth hidden in all these four and all these hair. So I'm just going to make a very, very cute Monster. And I'm going to shade the inner side of the mouth with a darker black color. So I get more depth of the mouth and the teeth will look as if they come forward as they if they're not at the same level as the dark backside of the mouth. And now I'm going to make the four kind of fluffy. So I'm just going to draw it like randomly like dots approximately here. You don't have to draw all the forearm if you don't want to, but you can just scribble it like that. One thing you have to think about, if everything is dark in on the monster, you can, you can grade the, the darkness of the material so if you want to see the eyebrow while just don't draw as dark around the eyebrows, just shaded with lighter gray. So you can see the eyebrows because when you have one eye on eyebrow will give you a better expression of the character. If the character is sad or angry, the more Elements we have around the eye that symbolize a muscle around the eye because we move the muscles around the eye when we express yourself. When we express our emotions, the better it will be for the design, especially when it has one eye to be clear what kind of emotions this character half like that. And we will design a rather thick legs. So you just with the fewer lines, just run on top of this legs. And just youth mystics. And I'm pulls the legs in a rather diagonal direction like that. And these make the character look more believable, More cartoony. It gives it a character. And now I'm going to draw the arms and the hand being just one shape without fingers. Well, actually I'm going to give it a thumb a little bit because it's going to be easier to also use that in the silhouette of the character. And I'm going to enhance some features a little more when I now see how this moves there looks like and I'm going to enhance the mouth, the shading of the mouth, so I will have more contrast. Contrast in character design is important when you design characters web. And with just one pencil does how you basically signifying that one element of this character has a different color than the other when you don't have the color to put in there. And also it gives you a suggestion later on that if you want to color this monster, or that you need to use different colors to color the four and the mouth. And so, and so each else creates a grading of the materials, shading, which is also a goat, It's about contrast. And you can even leave some kind of a hair sticking out like that to make it even cuter. Just enhance that, make it fluffy, fluffy and funny monsters designed. And that does the thing that the more you draw the monster and get QW kind of getting inspired to enhance it to make it better too. Do something more with it, to put it in a different situation, different poses or add more features to it, enhance the features that it already has. Thus, the pleasure of getting good at designing. And this is something that you are now doing tomb, even though you didn't know you had this in you. Now you're here and you can design this great characters. So I hope you find inspiration in that and just continue doing it. So here is all very monster. And now let's put this monster in different poses. We will do that in the next lecture. 12. 11 Furry Monster - Part 2, Running Pose: Hello people and welcome back. Now let's start the work with showing you how you can design some poses for your character. How you can draw the character from different angles and in different positions. So first, to draw the process, you kind of need to define who this character is. And as you see, these character doesn't look like a very slow kind of character. It looks like a heavy bouncy funk. I'm a character. It works fast, it runs vast. It's not like a slow, moody Walker. So to pause this character, we will find the specific pauses in situations to make this character believer pump. So let's first draw a pause where it is character is running. And we are going to start with them with the sphere. And the advantage now is the left we have a simple character with arms and legs just as ticks. And now when we run, we have many pauses follow running actually. So it depends what kind of pause you choose. If you choose one pulse 11 leg is very close to the other leg. Well, you will not get really the sense of a character running. It is just an illustration. If it's animation, of course, you need to put all these poses down and you need to know how to draw them. But for an illustration, we need to pick up a very specific powers that gives us a sense of that the character is running. And so we will choose a pause which is more extreme. So when we run, we kind of like move or a body forward. It's also called a controlled falling. Our body moves forward. Two starts falling and the legs are picking up. So we will choose the pulse where the body is just falling and one leg is just about to pick the body up so we don't fall. So I'm going to draw the leg, one leg here. And this is going to be the right leg and the left leg of the character will be still in the position high up. So the right leg is going to be on the other side of the body. Assume that this is the ball of this character. And we have an ellipse that goes through entire sphere of this body. And we assume that this leg is positioned approximately here on that line of the same ellipse, then this one is going to be on the other direction. Without going into too many details, you can eyeball that and just curve the leg like dots to design a pose of the character running or one length in bands and the needs. And because we don't have a human-like anatomy, this is easy to do. You just curve the line and you get this situation of running. So also, when you run the opposite arm of the leg that is behind is actually forward. So it's kind of like a counter movement. It's kinda like a balanced thing we have with our bodies where one arm that is the opposite of this leg is going to be. Moving forward and you're going to have the hand in the fist. So we just dignified with a curvy line. And so the other arm that is under in the back is actually moving backwards. So we'll have that arm over here and the rest of the army are not going to see actually. And now let's place g of this sphere. And if this is the body and the face, maybe the AI is going to be an ellipse over here. Why is it's an ellipse and not a sphere? Well, because we have a perspective change. So the more you go from being in profile of this character, the more the I will be relying just on top of this line here of the sphere. So this one is the phase is going to be in three quarters. And also the pupil is going to be rather an ellipse, then a sphere. So let's have that. And here we will put the mouth very close to the eye. But slightly body is going to be smiling. And let's just shade this guy in these posts to find the right silhouette. Unlike dot. And now let's go with the black pencil and define the spouse. God and ads have these legs being slightly bands to enhance the pulse and to find even the spouse. And you see how easy it is actually to learn. To learn posing when you have such a simple character. This is very forgiving to be, to be able to draw monsters. Because again, no one has seen scary monsters, nobody has seen Monsters altogether, but we have an imagination Nemea more forgiving of drawing any kind of character and just say dot YLDs is a monster. Of course it's not a real person. I mean Dao. And now let's have the mouth and being with this shape with the lips. And you see that when we have these hairy, dark silhouette heading the mouth like that is actually very beneficial because we can see where mafias like that and here. And now we can enhance even the blackness of the thickness of the arms and legs. And one thing we can do here is actually because the character is running, the hair will have a direction. So the hair is like if you know, if you have a wind blowing towards you, your hair will blow in the direction of the wind blowing. So here, the hair will blow in the direction, in the opposite direction of where you're running too. So if you run in this direction, the hair will have, will blow back. We'll just move backwards and we'll go in this direction. So this will make them more a real animal have some dynamic features of as if it exists in the real world, follows the real physical loss of or planets and all that we're familiar with. So, and here you can have the eyebrow hanging. It kinda like a sneaky way. It feels like the monster is running away and it's kind of succeeding in a running away. It's in a hurry, but it's succeeding. So just scribble this monster here like that. And now we have the first spouse of our character. Now let's continue with the next bolt in the next lecture. 13. 12 Furry Monster - Part 3, Laughing: Hello and welcome back. Now let's have or a monster laughing. So what, how do we love formula? Well, if something is really, really funny, we either lean backwards or willing forward holding our stomachs. Or imagine, or remember, when you love how you felt, how the position of your legs wore. When you love, do you had your legs together as if you are going to pee on yourself? Because it was so funny. So let's give this posing to you or a character. So designing the ball and you see I'm doing that very loosely. I'm not just tracing a ball, so just be free with this expression because from my previous lecture I've seen many students are really trying just to avoid this phase and just draw. A perfect sphere, will don't do that because there is, there is a meaning and there is a purpose while teach you this technique because you will be free then to draw anything. So I'm just going to draw these legs as if they're the knees are together as if you're going to pee on yourself or the monster. And I'm going to have the monster being lean backwards. So I'm going to have the mouth over here and the mobbing really opened. And I will be just approximately over here. And the eye will be squinting. So because when you are laughing, you're kind of a squinting your eye. So I'm going to draw the eye over here as if it's bulging outside the body. And I'm going to draw the middle line of this eye. And as if the eye is squinting. And I'm just going to draw a very large team on these monster laughing really wide. And just having this expression and maybe I can even draw the tongue, the tongue inside. You know, this is a very well-known cartoony shape of the tongue. And this is already having these expression of the monster. And now I'm going to have one arm holding the stomach. Again here. I'm going to have this arm home holding the monsters stomach because I want to have the other arm gesturing something else. And having this arm that is already going to be in a silhouette, instead of having it hanging down, which will not give us a complete impression of someone laughing because you do have your arm down mostly when you're relaxed. But to enhance this posing, I want this arm to do some other gesture that will enhance the posing of laughing. So I want to have a poster says a command, Stop it. I can't do this anymore. So I'm going to bring this arm in the gesture of saying, Come on, stop it. You're killing me here. And so when you do opposing of something, find. All the possible elements you can find to make the pose even more realistic and to enhance its power. And what does pose signifies. So here is the monster and I'm going to just put the foreign and I'm going to shed shade the mouth. And now I'm even going to leave the tongue out as if the tongue is also having a volume. But I'm going to set it a little bit because the time is not on the same position as the chief. The chief are before the tongue, so I need to have the teeth being much whiter than the tongue. And now I'm going to form the shape the lips almost approximately on the same line as this disorder line is which forms the mouth. So I'm just going to trace around it kinda just to signify the lips. And here is, or a loving monster. So now let's go with a black pencil and even define these features. And have even another posing of our monster. Posing characters is so very important if you want to draw this character a couple of times, or if you want your character to be a part of your animated movie or a book, or you are designing something for as a job for a company or someone. If you want to put more life to your character, you need to be able to pose your character in different positions. Because even though you design one character, you will be asked to be able to give life to this character. And this is the way to do it basically. And another way of doing that, learning to do that is also how to keep the proportions correct. There is a way where you can keep the proportions correct of the character when the character is standing still. Or if, for example, you are drawing a character that you need to model it, for example, in 3D. But when you design a character in different poses, there is not really a certain way, a specific way that you, you have. And that will give you the security of following the proportions of the character. The most important thing you can do is to draw it many, many times and follow the proportions of this character and see approximately eyeball or how long are the legs in comparison to the other body parts? And why is important to design this simple character. It because it gives you their exercise, the possibility to exercise exactly this part of the character design job. And there is not, There is no so complex shapes. And the shapes are very simple so you can focus the sides on the browsing. You can also focus on exercising the proportions of this character and the Maurya do that, the easier it will get for you to eyeball and to measure proportions even for your other characters that are more complex. The thing is that this is the mother of practice. There is no specific rule to it. And any designer you ask, they will tell you that it's all about practice, practice, practice in there is no specific way of saying that if you do this and that you'll be able to make a perfect balls even in any kind of way, in any kind of situation, any kind of way when you pose a character, there's so many other things that are important. For example, the perspective change, how the body is standing, how the parts of the body are in relation to one another. Like for example, this character looks as if the eye is tilted backwards. So the proportion of this eye is not the same as it is one. It is a neutral pulse, also with the legs. How do they look like in this position? And they don't have to be to the millimeter, correct? Because that's the beauty of designing cartoony characters. You can cheat a little bit, but you have to be somehow observant because otherwise you will be designing different characters and they will not look the same. So this is a good way to think about when you pose your character. So this is our laughing position and length. Go ahead and design some more pulses in the next lecture. 14. 13 Furry Monster - Part 4, Sad: Hi again. So now let's continue with having a kind of vast said false how will, or character B said. Now, I'm going to choose to draw this character a little bit in profile because I can use the idea of someone being set by hunting their bags. And now, even though or a character is just a ball and you enjoy 1009, doesn't have a body and hand to express more with it. I'm going to just imagine that this is the backside of the character. How do I do that with such a simple character? Instead of having the eye being over here, I'm just going to bring, bring the eye being over here. So I can still keep the shape of roundness of the character, but I can bring the eye or did and the idea of the face being lower down. And this will give the viewer an impression that this character has hunched his back. And this is something that we do when we have said we just drop all or body parcel or body forward and or arms are hanging or or legs kind of bending a little bit. So I'm going to make this loose. Benji, Walt, maybe this character is known just standing. It's also just walking, but the legs are not steady. They are not straight like that, like the running pose. They're more of a just dragging one leg after the other. The steps are much slower. They're smaller steps and the distance between the legs when walking are just smaller. And we have the shoulders falling down and we have the arms kind of in this set position. And I'm going to make the mouth open, but the lips will be dragged down. And we will see just the upper part of the TIF and we will not see the lower part. And I'm going to have the monster looking again towards us. The upper dialogue of the monster will be falling over D, the pupil, and the little bits on a diagonal. And here comes in news, the eyebrow of the character. Because even though it with one I just tilting the eye in this direction when the character is in profile, it creates a kind of a sad look, even though the character has only one eye and we're not going to see the other arm. So I'm just going to design the forum or a draw the four for this sad little monster. And you see that when the monster risks cute, even drone instead position. It kind of like does look still cute. Mean you feel sorry for this monster. This is something if your design and children's book or something and you have this simple characters, you want them to be also likable. And now I'm going to go with a black pencil and also define the spouse. As you see. Very easy now to define the arms and the legs. And the more simple your character is, the easier it will be for you to draw this character in many ways and to just Jane confidence in yourself that you can do this thing, that you can draw your characters. If you start with a very, very complex monster or very complex design, and you're not used to drawing these things. But what makes it difficult for you to draw them on paper is the reason that you are afraid of drawing. And you start drawing one line. And you tried to find the whole body by just going bit by bit and not having the whole drawn yet. So having this simple character is very easy for you to be free of this fear of drawing and also to teach yourself and that things are happening one bit at a time. And you need to follow a certain principle of poacher, of proportions. And the only way to do that in the correct way is by drafting and by sketching at one bit at a time. And not just trying to be smart on yourself and say that, well, I can do that. Doubt even drafting this character. I don't need to draw these spheres. I can just drafted, I can just draw it immediately and then can be perfect. There are very few people that can do that, and those people who can do that, they had been practicing in this way much longer than you think. Again, when you see nice drawings and nice illustrations and you say this person is talented. Behind the talent, there is many, many hours of drawing and practicing. See something that you don't save. So have this in mind when you look at your favorite characters, you have your favorite animations or book illustrations. How many, many hours of just doodling and drawing in finding the shape there is behind all these iconic characters. And knowing that going from this process here with me, you will allow yourself to go those steps and to become a great character designer, to reach your own potential. And we just know that it's not, that you're not talented, that you control. You just have and put the hours and you haven't freed yourself from the fear of drawing. But with this lectures, I hope that you are much farther ahead. And here is another Paul's of all sad little monster. Now let's design some more poses here in the next lecture. 15. 14 Furry Monster - Part 5, Angry: Hello there and welcome back. Now we have these three pulses and three different emotions. Now let's have another extreme emotion and that will be angry. How would that character be angry? I mean, when we are angry, well, with quiz or hands in feasts. And we are kind of pulling or arms up. We're like, kind of like in the way of exploding with anger. So how will this bouncy character be angry? I am going to draw this character from a front because I wanted to have his face visible. But what else I want to have is to have the silhouette of his arm beans being banned like that and his feasts being squeezed. So that's why I'm choosing a silhouette that will enhance this look of anger. So I'm just going to draw the arms over here. Why? Because I want to have an expression that this character is bending forward. And if you don't have, again, a body and a hand to have the character bend forward, you use the eye to signify where the body is. So if this character is then forward, it will be something like that. The eye will be lower down, but also it will be squinted. So I will use this kind of AI. But I will place the character the aisle lower down that we'll have him look like. He's really, really angry and bending forward. What else I'm going to do? I want to have the MAO being in this grinding teeth kinda look. So I'm going to have the mouth pulling the corners of the mouth upwards. And I'm going to have this mouth at the sides because when we are grinding or thief, we can like shrew the mouth. You can twist or mouth and disposition. But also what I wanna do is use the eyebrow to create this angry look. So here, if you design this eyebrow in this direction and you look at them, the monster from the side, it will look rather said to have the monster working angry. You just still the I in the opposite direction. And depends enough how you oppose them. We can just cheat with that and we can make the eye look as if he's angry and he immediately look as if he's angry. And now I can design the tif. I hear grinding and the lower teeth like death. And he already looks angry. But not only that, I will even enhance the angry along with his legs and the legs being a little bit bend. He's like leaning forward and he's about to explode. So I'm just going to curve the legs like that. And the other one like that. And even though I see that the legs are very close, I can choose to cheat this position and choose to spread the legs, a one unnecessarily wider to enhance the posing of someone being angry and especially this little monster. And so now let's design the hair and the hair because the hair is falling down, we will not see the silhouette. Over here. We see this part of the monster's body. Like if you tilt your head forward, we are not going to see the lower part of our bodies right. We are going to see just the top of our heads. So this is something that I can think about here too. Because there is the perspective changes happening. And there is, even though for unrealistic monster, there is some kind of role of anatomy. Does we've just created that its body have monster, fluffy monster. So we need to follow this particular role of perspective and we will just see the monster from, from above. And now let's even shade in this monster here like that. And let's say, let's design the eye like that and shape even the mouth with these teeth. And even I've placed the t for a little bit in disarray even though they are not so and, but when you post something, when you design an impression, you can do some tips and tricks just to enhance, enhance the posing. Because the most important for you as a character design them is to create an impression. This is the most important, it's not the most important to be anatomically correct. The most important is to create a feeling for your viewer to perceive. So this goes before everything else. So the more you can think of how to do that. Designing and character in, in profile or in three-quarters. What kind of pose you want to convey from which side of your character dispose is better, a red. This is what it's all about, how we read the boss. And that's why here. Silhouette is important. And now I can even bring the thumb here because this is enhancing the filling of the hands being squeezed in a feast to enhance the angry physician. And you see, even though this disposing these monsters are little bit different in size from one another. The proportions of each monster is the same according to the monster's body part. It is about the same monster being in a different pulses in the different sizes, drawn in different sizes. This is as if you're taking a picture from different positions. If your taking your picture from closer in EOB, bigger in the picture. If you are taking your picture from farther away, then you'll be smaller. And this is something that we've been doing here. Some null like this monster. The first monster is much, much smaller and now we are doing even larger monsters in size, but it's the same monster. This is also usable exercise to use to design different sizes of the monster because you need to get used to the proportions of this monster, not only from the same pulse and on the same sheet of paper, but in many different ways and poses. Because if you only get used to one bolts of the character, and if you want to draw a character closer in no further away, then you will not be able to do it. And so try out different poses. And now I'm going to shade the eye as well. So I don't miss that this monster has a skin on top of the the aisle logs and the eye is not open. So we have this dead I, that makes them Walter scribal scary. Rather than, rather than just having the idea that the eye is closed. And here is our or angry little monster. And we can design some shades over here like that. And here we can have a shade of this monster dot is like in the air and it's just about to come down. Now let's design a monster dot is seated and relaxed over here. 16. 15 Furry Monster - Part 6, Relaxed: Hi there and welcome back. Now we can have another bulb here of a monster that is kind of like a relaxed laying on the grass here. So let's start with a sphere again to find where the body of a master race. So let's have one arm on the four. Or when you do these poses, you can just imagine you're sitting like that on the floor. Just simulate these poles of your your arm supporting you, supporting your head and your body on the floor. And even though the smelter again Don have had, we will use the part where the eye is as signifying it as if this is the master. And now we can split this body into to signify water middle of this body is because we're going to twist the body. We're going to use the hand or the arm here doing one posing and we're going to have the heap area in a way to illustrate the balls of the, of the arms being on the floor and to find what the other leg is and the other leg will be approximately here. And it will be on the on the grass. So you just have this curve being lent out on the grass. And you have this this front leg laying on the grass and this is the foot. And now we'll have the melter showing maybe on, on a flower, a romantic kind of monsters or less, design. Let's draw the eye and let's have the dialogue being slightly tilted this way. And if you have the dialogue tilted this way, it kind of looks kind of lazy, romantic. And we will have the monsters and the pupil being covered by the eyelid because it enhances just lazy, lazy kind of look. And we will have the mouth smiling, but the mouth being closed. And we will have the mouth even a little bit tilted to enhance this. Allow email. I don't really care. I'm just relaxed laying on the ground, kind of look. And you'll have kind of a flower here. And we'll just signify the flower with some, with some ellipse. And we'll have the other arm. Like lazy Lee leaned on the other knee. This is very nice if you, if you photograph yourself from a different poses and with this simple character, tried to imitate this poses that you photograph yourself because you will find so many poses and so many nice characteristics of this kind of monster. So let's have the eyebrow also being this kind of kind of like the set position. But more of a laid by cloak. And with the whole facial expression of that monster, he looks like really, really easy going and relaxing. So now let's. Enhance dealt with the black pencil like that. And let's have the mouth. And let's have the flower. Maybe we'll have another ellipse here. And we just have a flower, like Dat, like a white flower, kind of a lof lower because that's how we count. Love me, love me not. So having these kind of flower is an element that your viewer recognize us already. So is also kinda enhances. Just log off. A little Loverboy. He's like while laying here, are attracting the ladies, the lady monsters. If I'm goofy, I'm cool. It has this expression. And enhancing these eyebrow here and just have the hair falling, falling down on his body and also, but also laying on the ground. But God, this is another elements are one, the character is laying on the ground, the hair just dust falls down. So use this direction to create more of a believable monster, unbelievable counter. And let's design and draw the hand here. And the other leg being casually on the grass on the ground. And the one here casually on the ground. And so finger of another, other poses that you can do with this monster. And even though it's I've not drawn them here, you can adjust both yourself, photograph yourself in these poses and see you where your arms are, where your legs are, how your body is seated. And place this monster in these poses because you have nothing to lose. This molecule is so simple that you don't have to be anatomically correct. You just need to follow the posing of your, of your body to design, to put the monster and this character in this position like that. And now we have yet another pose for this monster, casually laying on the ground. So you see how easy that was using a very, very simple monster to design basically a several pulses of this monster who describe this character. And this is very important when you are a character designer to find who the character is, not only as a design, but also as a personality. So I hope you've enjoyed this lecture and see you in the next lecture. 17. 16 MonsterĀ“s Family - Male Monster: Hello there and welcome back. Now, in this lecture, I'm going to teach you how to design a Monsters of different gender. Basically how to design a family of most earth. So I'm going to start designing the mail and to design a male character. And no matter what kind of design you choose, what do you need to consider is there are characteristics of a male. So if you're trying to describe a male character that is very general and are typical male character. Compare in comparison to female children character, the males have testosterone so they have more muscle or body, they have more sharp features, so they should be heavy. So to use that as a characteristic, I'm going to design a male monster. And I'm going to use the features of the monster to design also a critter that has these features. And I'm going to use a guy that has some kind of face, maybe something like a troll. So I'm going to use just a large face and I'm going to design the face being a rather in this position. Why? Because I want the body to appear hunched. And if you have something a hunched, it means that the creature is something between human and creature like, and this is something that is very unknown to us and everything that is unknown to us is rather scary. And to have the upper body looking rather big, I am going to make the lower part of the body and looking a rather small. So I'm going to design that as a part of the body and also the legs of this monster will be a rather small in comparison. So I'm just going to mark approximately how long I want these legs to be and I'm going to decide that so long are going the legs to be does because I want the body to appear muscle or M strong. So I'm just going to mark where the feet are going to be with the line like that. And how do I find now the legs? I will assume that these guy, this monster have some needs. And I'm going to find somewhat somehow the middle position, if I assume that this is the and the torso and these are the hips, I'm going to put the middle of the legs approximately on this line like that. And I'm going to find somewhere the middle of the line to be the needs of this character. So let's say they're approximately over here. And these are going to be the areas of the ties. And because I want this monster to be rather chunky, I'm going to use a really large spheres to design the chunky. Muscle or legs of this male monster. So I'm going to define them with some kind of some ellipses that connect this point here with the knee here. And I'm going to decide that the ankles of this character, we're going to be approximately here and here. And I'm going to connect in the same way with a smaller spheres, the knee and the ankle to define the legs. And I'm going to have this character have large feet. So I'm going to just signify dot the ellipse. That is a laying down as even laying down on the floor. And this one in because the feet should be a rather large, I want to have this kind of amongst the worst, maybe troll like look. I'm going to put a troll like features. So to do that, or what do I do with the face? I'm going to have the eyebrows being rather lower down, so I'm going to give more space for the forehead. So if this is the forehead, the eyebrows will be approximately here. Also, I'm going to have a rather large nulls as a trolls nose, big red, red trials now. And I'm going to have these eyes being below the eyebrows. This is also something very typical for males to have eyebrows much, much lower down, then the females will have more of our open, open eyes and our area of the eyes. And I'm going to give him eyes that are looking from underneath the eyebrow. Now you already looks rather scary. What else do I want to give him? I was I want to give him some deformation and some big jaw. So this fits perfectly together because male have rather bigger jaw than the female. Altogether, not just a monster. So I'm going to use this feature here to design the jaw area. And I'm going to signify it with another ellipse like that. To signify, well, this is where the joy is going to be. And I'm going to use this place here to say that this is dumb mouth. And the lower part of the mouth comes before the, the upper part of the mouth, which gives him even more of this enhanced loop does the jaw is really, really large. And I'm just going to round this shape of the jaw, kind of following this sphere, this ellipse here. And now I can pretty much does connect to this part of the head here of the sphere or with the lower part of the jaw with just a curvy line, like a dance. And now I can design even the ears and the heroes, usually even of the male character. They come a little bits where the jaw. And so if we assume that we have this ellipse here and the Joe and skier. Then the ear is going to be around here. But what else can I do with the year? Well, because it's a troll, let's have the ear being more of an animal like so. I'm going to have the ear being a little bit upper, higher up as an animal and they should be more pointy. Again, a pointy and pointy shapes is symbolizing more of a danger. So having the ears being more rather pointing. And we'll give it a more monstrous look. Now besides that, lead, lead's give this character some hope, some horns to have even more dangerous like that. And around them up a little bit. And now we have kind of all monster coming to life. What else can we make to help and to see these mouth as being a with a, as a big jaw just give the sharp front teeth that coming out of the mouth of the job. And now let's create is this character's arms. And if we assume that this guy is hunched like that, then the shoulder. So we'll be also much higher up than in the normal humans. So I'm going to signify the shoulders with other ellipses on both sides. If I draw a line here, this body, they are going to be on both sides of this line and this shoulder will not be very visible. So I'm going to design this arm being really, really large, rather large arms. And to have this arms appear very large, it means that I need to make the lower part of the arms being rather small. How you do something, look up here, large is when you have something that looks smaller in comparison. And I'm going to do this rather small arms or hands. And I'm going to repeat that here as well. For the other arm. And I'll have another ellipse for the lower arm and just have the hand being over here. And this is approximately or monster character. Now let's enhance the features and make them look him look more like a monster. So let's have maybe this character heavy, maybe some kind of a closed, so we haven't done a character that, that has close. But this is a good way of doing it now because maybe you want to have a story of a monsters who are more human-like, like kind of a Frankenstein. We're not going to do exactly Frankenstein, but this is something of a kind of a human troll like monsters. And I'm going to give him some kind of our clouds like doubt, maybe having some leather jacket leather clothes. And I'm going to give him some kind of our pants or trousers. And being like that. Or maybe this this jacket is kind of on top of another shirt, a no, or old fashion shirt that is going down and you'll have this shirt. On top of his body being like a little bit thorn. Because this is also gives us the impression of the character being in neglect, not with good manners. So we'll have the jacket being like God. And now let's design the, the, the length. And I'm going to choose this monster to be rather hairy. Another kind of feature that will enhance He's animal is creature like Luke. And instead of human legs, I'm going to give him the character some pores, which will also enhance the creature like look. So I'm just going to split this ellipse into orange in three parts as having these three pulse. And use the contours of the ellipse here, as you see, is very easy to design a leg or foot when you have this placeholder and you just follow approximately the line, you can make the lines thicker or smaller, but when you have this placeholder, it basically already have your character. And I can make some hairy stuff here, some hair on top of that. And you see that when I draw with a blue pencil, this kind of construction on the new Dong's doesn't really bother me because that's going to be another construction on top of that. Basically being and they'll outlines with the black pencil. And now I can just follow the shape that I've designed or the spheres here to give the character its arms, the shapes of the arms. And here he has his hand in a feast or having the pinky just on the bag on the back side. And I'm going to split this hand into and design those two lines here to signify that these are fingers. I can do the same thing here. Just because the hand is lower down, I will see just a little part of the fingers. I'm just going to signify this. We just two lines. Is that simple? And now let's have the bushy eyebrows that maximum look even more animal like a bushy eyebrows like that. And let's have the nulls being really, really around. And let's have some puffy eyes. So Justin Hands the bags under his eyes. A character who is being in neglect. Let's have the eyebrows, this area being a wrinkly as if he is angry all the time. This is a wrinkle here dot signifies that guessing stronger when we are angry. So giving that to a character make him look even scarier and letting her enhance his head. And he's homes here. And you have a real like male kind of character that looks like troll. And also, what else can we give him less? Give him some words here. Wards, different mention disgusting things. What else can we give him? Skin, the four homologies or wrinkles. And lead sound? Now give him some hair in in disarray that less can have his skeleton, his coal local rather Bumpy. That makes it even easier because you don't have to follow a perfect skull really. Just haven't been PR. And now let's have more hair falling down on from this monster. And let's have some parts of his face being actually make it not hairy because that will enhance also his human look. That's something that makes it even scarier. Because if you have just such role, you cannot accept that, that Troy is a troll, is an animal rights, even the scary bear in no mean if it's a bear, you know how the baby reacts. But the more human-like, something animal-like become loan some creature, the moral kind of thing. Well, this is not really a troll and it's not an animal. And there is a human intelligence behind it gets even more dangerous. And let's give this monster A1, hairy, hairy arms. Journalists profit up with some hair and then we can refine it later. So this is kind of our male character signifying these features of that male has. So let's refine that in the next lecture. 18. 17 MonsterĀ“s Family - Male Monster - refining and adding details: So let's go ahead and refine this monstrous character of, um, of a male. And now we have all the features dots. Male has a large upper body muscle are and are the male has. We have really, really sharp features on the face, big jaw. This is something signified with a male as well. Big forehead, eyebrows, lower down, eyes don't look rather angry. This is something of a monster, russ, look, we've decided even earlier. So, and what makes a monster looking like a monster? Is this basically feature enhancing the hunched look on my animal like lock or like a troll. Puffy eyes. Something that is sinister and scary of a person who has on sleep, sleeping, who's been in neglect. We give the character a different modalities, like words here and there. As we know that we are seeing different molecules as something unattractive and something. We are scared of. Sharp teeth and jaw that is also deformed. The the lower jaw coming on top of the upper jaw. And this is something also the look of the motor with the corner of the lip being dragged down, creating even more scary, angry look of the creature and enhancing the monster russ look. And these have all other monsters are, is a more human-like monster. So I would like to give you all aspects of how to design a monster. Because there are so many different ways. And for you who are a total beginners, I hope that going step-by-step, you will follow me within all in the steps, but don't be discouraged if you can't draw a particular dismissed and that is rather more advanced, more human-like. It has rather clear proportions. You will be, you will get there and you will learn how to do it. And the more you do it. But you need to have an overview that the design can be different from one design to another. And you need to have the choice in the possibility to even design creatures that are more advanced if you're doing more of a fantasy book and you want to design characters that have more realistic features, more human-like features. And now I'm designing this famed black pink here as if to signify that there is a volume to this clothing of the monster that it goes around his arm and there is a little bit of a space here between the clothing, the lender, and the monstrous arm. And just continue. Continue finding the shapes of this monster and you can give him some more elements. Now you can give ornaments to this ladder. You can give some buttons and you can design kind of like a different kind of design. But this is just a way of working with this such a character. And when you have the easy proportions and when you use the spheres by finding the, by finding the body and why the proportions are. Then it's very easy later on just to add Peter's joy it. And you will not have to wonder where to put that or the other. But as you see, I'm not afraid to doodle, I'm not afraid to scribble on top of other things that are excludable because I know that it is not about only one drawing, but also even for drawing. When people look at the drawing, they will not see the blue lines. Then we'll only see the black lines. And you'll see throughout this lecture how this is true and thus how it will work for you. We tend to see something as finished if it's led black lines or the darker lines that are. If I use the yellow and the blue pencil, you will have seen blue pencil on top of the yellow and less design. Their hairy legs just enhance the hair like gout and we will have or character. I mean also you can see characters like dots, like what makes something or someone a PM most arose There's through literature and history and we've been trying to actually get away from this feeling that we are not supposed to judge by the luck, not supposed to judge the book by its cover. And we have stories like Frankenstein, Monster dot loci deals per has a good soul and something that becomes evil only because people assume that as soon as that if you have a hideous phase, if you have these elements that we people tend to be afraid of, that you also evil, which is also a misconception. But this is how we function, this is how we work. And it's, it's something that you can use in design. But also the story about causing model and being with these features by having these tender, help also loving soul. And this has been through films and books away of kitchen enough that it's not the way we looked at it counts, it's the way we are and we are born as always as good people as blank paper, so to say. And we build our personalities base of law on love. And we want always all the same thing. But the what, how we judge people, we tend to judge them according to how they appear to us, which of course is wrong. But for character designing, this is what you have to take into consideration. So this is our male monster, and let's go ahead and design a female monster. 19. 18 MonsterĀ“s Family - Female Monster: Hello there and welcome back. So let's design a female monster here. And usually when we tend to think of monsters, is much easier to design a male motor because the motor how this strength and media to associate strength to something threatening. And females are more caring and loving. And we want, It's difficult for us to see female creatures as being monstrous. As soon as we see someone, a beast that has female attend the creatures, we immediately tend to relax and say, well, this is a creature that is rather loving, that it's not really a monster. But if we tend to, if we are to design a female monster dot is from the same family as him. We should take into consideration our female characteristics. And what are those? These are basically that the female has larger hips, it has tender features of the face, and it has rather gentler personality. But still, we need this female to be a master of his family. So let's take into consideration that and decide like okay, here this female we have larger, larger hips or let's decide that here. And how we want the hips to be larger is also to make the body looks rather small in comparison to disguise. So we want this area here is larger here to come over here, social hub, wider hips and larger and legs. And so we will design something that is larger here. So let's place them almost on the same floor and decide the proportions of the female depending on where they're standing. So her feet will also be like here. And these are going to be her feet, and she is going to be also a troll. So we will design these larger area and she will be like a nice, nice, moderately kind of character. And we will again design these feeds. So I'm just going to place the place holders feet being rather small dose on. So I'm just going to make their feet are a little smaller than what I drew initially. Just to have the proportions of her upper body and to be rather far smaller than the male. And I'm going to have the face being over here. And I'm going to have current not as hunched because I would like to have her being gentler than the guy and kind of like a motherly kind of character. But I'm going to have her lips and her upper part of the The face having justice larger forehead and I'm going to have the eyes being more open. So what I'm going to just mark here is this characteristics. I'm going to leave more space for the ice, signifying it with an ellipse. I'm going to leave some sounds space for the lips like that. And I'm going to give her gentler ears like that. She's not gonna have homes, But she's rather or she will rather have maybe a longer hair. So I'm just going to signify a with a line, the hair that's going to fall here. And I'm going to give her even some chest area, some breaths because she's going to be like a mother, kind of grandmother, Kinda like so she's going they're going to be like over here and she will have a broader shoulders. And I'm going to give her some kind of a posing like dots with more gentler arms. So I'm going to have, if the shoulders side here, I'm going to put a line from this shoulder to shoulder and design them on the same line. You can play with that. You can bring the shoulders even closer in. There is no wrong or right way to do it. These are just characteristics that I'm going to apply right now. Fro, from female, female, human female to put it on a creature that is rather animal like. And I'm going to bring these kind of our waistline here. And I'm going to design again the arms. So this arm being the elbow coming over here and just match it with the other elbow on the other side signifying just with one sphere. And having these risks being over here and just finding immediately on the other side over here and having a rather gentler arms, I'm going to signify it with just on their lips. And now I'm going to dress her up with kind of address. So I'm on top of these features. I'm going to try to find some kind of address coming so long as the has up to here. But she's also going to be hairy because they're coming from the same species. So I'm going to design that hair here. And I'm going to signifier read already now these the same element that because she is, after all also monster, she's neglecting her looks and she has this dress that is really, really all them. Besides, they don't have stores for most pterosaurs in Kansas, little walk into a store and buy a new clothes and just find this story is to make it more believable. What else can I do now? I'm going to make her nose kind of from the same species, but is going to be a rather gentler. And so I'm going to have a smaller nose and just open up her face a little bit. So I'm going to give her these large, large eyes instead of just big eyebrows. And I'm going to pull her eyebrows a little bit higher up like that. And now I'm going to design phase. Being here and do I want her lips to be lower lives to be on top of that? May 1 be I don't want that. I want her to be gentler. So I'm just going to bring her lips as in a smile like that. And you know what I'm going to do next? Let me show let me give her some eyes to have her enhance curve female looks, I'm going to give her eyelashes because this is even though from monsters, females enhance their eye lashes because they look more female like. So if you have a cartoony monster while you can add some eyelashes on, on her, Let's give her these pointy ears as well as her husband or whoever this guy is, the relative. And now maybe because we said we are going to have the hair going down on falling down around her body or maybe a tail. Let's have her hair start from here. And because he is a monster, her hair will come from lower down. There is still the combination of monsters look with the human log and female features. And now let's bring her, her arms and legs have and that dress coming so long as here, like for the guy. And let's shake the arms being also Harry, I'm just going to follow. Make the arms rather thick. Notice Kinney bonds or rather thick because she needs to be the same greeter basically. And the arms over here and I'm going to bring the tongue. You can see that you can describe everything with an ellipse. Before you even find pingers. You can just describe it with an ellipse. And now this is our Female monster. Now let's go ahead and refine the features. Like that's the years and bring the eyebrows a little bit over other up. As a combination of this design are female features and amongst their alike features. So she needs to look like a monster anyway, but she's kind of like a pretty monster. Maybe you have the eyebrows being rather thick. But already this look makes calloc as a female monster like gods. And let's have her mouth coming forward. She may be have also TIF like DOD, but now she doesn't have subtle abnormality as her husband does. And that makes her look more gentle, more tender, nicer even though she has this masterless look and these hair, it gives her some kind of all female chemo features, hair cut, gentle of features. And. Her face being lengthened out. And maybe we are not going to give Cold War awards because we want her to be rather more likable. So if you just want to have the master and hand the character rather more likable. Well, just to decrease the abnormalities of that we've counted, don't makers to sleazy dance maker to abnormal. Don't twist the features too much. Just come as close as possible to the human features to make her look more likeable. That's, that's how you could come around that while creating the same species but having them anyway via likable. And let's have this ponytail, something long ponytail of her hair coming down her body. And this is also the way to describe a chunk of hair and not all the hairs. And now we'll have her a little bit hunched here because she's still amongst her and she's kind of a truck and a monster. And she is a rather chunky to be a part of these creatures. There is also a way of designing if I'm a young female. But I'm going to try to give you these examples of designing a female that is very similar to this guy. So now it's very easy to find the fingers here because I just see why the placeholders are and then just follow them and even hear it. She has this kind of shy kind of work. She's not really scary, scary as this guy. She is more like a mom and my mom character. But also looks like Monster. Know when Frankenstein, I wanted to have a wife that looks like him. So he doesn't he doesn't have to scare anyone because no one wanted to look at him, no one wanted to have him. And it has this kind of our characteristics. Now I can even use this sphere that I drew here to basically enhance the luca was domino. She can be a little chunky and have these rather large body. So I can use this first guidelines that I did to have her look rather junkie and design her address. And now let's have her hairy feet. That's something that not very female like to have hairy feet or hair, hairy legs and dot something that's enough to make her look like a monster. So let's give her the same kind of pulse and legs that look like a monster. Them not human legs. Even though she has human features. And we are getting closer to two similar design with different characteristics. So here we go. And now let's explore a kid designed here in between them to make a family. I'll do that in the next lecture. 20. 19 MONSTER FAMILY MonsterĀ“s Family - Baby Monster: Hi there and welcome back. And I hope you're having fun designing this fun cartoony monsters. And now let's continue with designing the baby of this too. I mean, you can imagine that it's going to be horrific. Well, maybe not because we can design some cute little baby and we're going to design a baby that seeded down. So when you design a monster baby, you have to have consideration the features of a human baby. So what does a human baby have? It has a large head in comparison to its body. And now let's design this baby monster as if it's a seated down. So I'm going to design the body of this baby being on the ground as his parents are here. And I'm going to design a large, large feet. So I'm going to have the baby having his legs like spread spread here and having his paws on the ground like that in front of him like a really baby like position. So this is something that's really enhance the look of a cute Monster baby. So what else do we know about this baby like monster from his parents? Well, he will have carry pulse even he's he's front arms are going to be hairy. So we'll go ahead and design these arms. Just do a slight line here to signify where the fingers are and here is the thumb and here is another thumb. And just refine this feature here of this ellipse and do 12 stretches here to design the other hand. And let's just make a line up to define the baby's arms. And they are going to be chunky but short arms. And now the baby's legs are going to be here. So they're going to be behind the arm. So we're just going to signify that. Now let's design the baby's features. And now only has to look like these two. What kind of features or we think about here. One thing we will have a big forehead, but also big eyes. So let's design the big eyes being a little bit lower down on the face. And it goes, does what babies have. They have large forehead and they have big eyes, and they have smaller mouse. So then the baby needs to look like his parents. So what is going to have is going to have around little nose like that. What else is going to have? Maybe is the baby's going to have wide mouth with 12. So let's bring the mouth closer to the eyes because this is what babies have. They have their mouth, their face is basically gathered together. What else does baby have? They have cheeks, they have two cheeks. So let's give this baby cheeks by the corners of the mouth. It's going to be queued monster, baby with cheeks. And what else does it have to look like? It's Parents Was it will have these teeth here that are coming out. This is like a monster assertive. And now let's have his eyes being really, really big and large pupils to have, to enhance his cuteness. And it's already coming along. Having these monsters look like his parents because of the mouth. But also it looks for rather cute. What else can we have? Let's have the gene being more like a rod, like a baby. Let's have large ears like his parents. So just have one ellipse here and one less ellipse here being the ears. And maybe if it's a boy is going to have small little homes like his father. And it's already looking cute. And we can have his eyebrows lean, being higher up on maybe around here. Very, very tiny eyebrows. And now this baby is going to have also some four. So let's design the ears and refine them like that. Pointy ears like his father, use the placeholder to design the ears and follow this shape that I'm showing you. It's kind of like troll kind of ears and pointy little but still around it. Horns because this baby is still cute. It's acute monster. It's not as scary and grumpy as his father is. And let's design these ellipses here being the pulse of this baby. So Justin Hands this, this ellipse and do 1, 2 around it, a shapes to signify the pulse. And the lower part of the pole is basically the defeat of these baby. And here is the same way. You see how easy it is when you have the ellipses to follow the shapes. And now we have a baby signified the legs here. And now we can have the dress of the baby or some kind of fall. Or maybe we can just have 40. The baby is not gonna have any interests and in clouds on. So just do the for, the baby is going to be even more cute. It has hits natural look. And the four is basically color or shade. And the back part of the body. So we can have the arms sticking out, sticking out. And as if they're on the floor and they are before the body. This is another thing that I already told you about, how you can have one thing appear or being farther away and one thing appear being in front of something else. By shading the part at his father away. Darker. And now let's have the, the hair of the baby, the baby monster gel pen over here, everywhere like that. And this is basically done monster of these parents. Now let's refine that with a black pencil and see the baby down. So we're going to have and the horns and the ears, the pointy but cute ears. Why does the ears Mike, make it look like a baby is basically because we think of puppies or kittens cmon. They have disproportionately large ears in comparison to their faces. So, so this is also reminds of, reminds us of puppies and the cute little noses. They're not going to have this disgusting noses life his father and not yet anyway, the wars and this proportional things are going to come a little later. But right now we want to like this baby. So remember what we do to make, to make a monster cuter. We just take away some of them. The most of those features, that disgusting features, abnormalities and so on. And that will make the most or look even cuter and we will accepted better. We will like it more rather than being scared of him and even just having this fluff on the baby's head. It makes it look cuter. I have hair in disarray. The cheeks make the baby lot cuter. Will like cheeks, something rounded, something that reminds us of fluffy stuff. Fluffy chicks sense that reminds us of children. And children always makes us look, makes us except a character design as something that looks like a kid. It looks cute. This is very human-like feature that we tend to have genetically coded in us otherwise all, otherwise we wouldn't be able to reproduce, to know how much the baby is crying, how much they need to be taken care of. They had to acute, right? So tells the monster baby the same thing for the monster baby. They need to look cute so we have to like them and say, well, this monster is not that scary after all, because it's a small baby. It's innocent and it can't do us any harm besides crime or mites. But that's why that's what he has parents for. And so just do these graphic elements and you can just drizzle it out. There is no rules here because we want this baby's hair to look just fluffy and in disarray when you have something in our little kitten coming out from his night sleep and the hair logs in all in this array. I feel sorry for a ketone. We feel, we immediately feel empathy and sympathy for it. So baby monster with his hair in this array is just as cute as a little kid and with the hair in disarray. And it's cute little design. So I hope you can be following the steps along with me. And I hope you can then redraw it over and over again and maybe you can add some other features to the baby. Let's have also the eyes bulging out by just enhancing this area and by just shading the area around the eyes a little bit darker. So it has the eyes bulging out a little bit more. And with the very, very small eyebrow, standard eyebrows that will soon look like his father. Fluffy and grumpy eyebrows. But for now, it's cute. It's really cute. So this is our monster family. And I hope you learned a lot from this lecture, and I hope mostly you had fun. And I hope you enjoyed this course of how to draw cartoony monsters. So I would just encourage you to practice, practice, practice, use those, all these techniques that you've learned here to design your own monsters and find your own different characters and having fun. While. Thank you for joining me and see you around. Bye for me.