How to design a horror character | Ben Tobitt | Skillshare

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How to design a horror character

teacher avatar Ben Tobitt, Illustrator and Animation Director

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

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

5 Lessons (57m)
    • 1. Creating scary Horror Illustrations

      0:22
    • 2. What makes a design scary?

      9:43
    • 3. Sketching a monster

      10:56
    • 4. Rat man illustration

      14:09
    • 5. Rat man final

      22:16
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About This Class

Hi There, I'm Ben, an animation director and production artist.

Together we're going to design a creature for a horror story, as well as go over what makes good horror designs work.

In this class you’ll learn how to:

Read character design.

Design your own characters.

Render characters to look spooky.

By the end you will have a fully rendered illustration with a character and background.  

This is for intermediate learners who have some knowledge of photoshop and illustration.

you can follow me on twitter @benjamintobitt or check out my website at bentobitt.com

Meet Your Teacher

Teacher Profile Image

Ben Tobitt

Illustrator and Animation Director

Teacher

Hello, I'm Ben.

I'm an animation director, Illustrator, character designer and background artist for films, television and games. 

See full profile

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Transcripts

1. Creating scary Horror Illustrations: either. I'm bento it. I'm an animation director production artist. In this class, we're going to make a horror illustration to a set brief that you can follow or make your own. We'll also look at examples of iconic or design. So what makes them scary If that sounds like we wish fund to youth and I'll see you in the next video. 2. What makes a design scary?: So before we start drawing and designing, thought it best to go through some of the most iconic. And I think some of the best Cora designs in films and gains thes days. Just so what we can grasp with some of the common elements between the designs on what makes it work. So we're gonna start with the simplest design so far, but also the least human. The warrior bugs from Starship troopers this week and sharp like a sports car or fighting chance. But they're also believes how dangerous, deadly they are story. Like all good monsters, the design reflects the message. That story, the monsters in So Start Troopers is a film about fascism on the way that war can slowly destroy a person. And it's fitting that the enemy in this film is completely alien to humanity. It's insect tile. It's aggressive. It's covered in these sharp points. It's essentially made out of daggers and is the furthest you can get away from a human being. One of the things that fascism does is removed the idea that people are human beings, it others people. And so the warrior bug is the source of the perfects enemy for a fascist regime to get toe war with because they can go to war without conscience. This is further emphasized by the fact that is so human that it's not something that you can easily empathize with apart from away. Tucked into here is this little high here that's shiny and bright, and it's the only vaguely emotive part of the creature. Avoids. It's completely is the almost complete antithesis of the human being. So next up is Pennywise new Steven Kines. It's film French now. Clowns is sometimes found scary because they fit right inside the uncanny valley, a graph of home familiar or readable and images to human beings that gets mawr more realistic and instantly drops into the valley where by which it looks human. But there are certain elements that just slightly off and then comes back again with it becomes more realistic. This is something that you find in some three D generators designs where they look human, that something is slightly off, and clowns kind of fit into that. So, in short, plans look like humans, but not quite, and it's this distorted features that make people uncomfortable Now. I love this design because spoilers Pennywise is actually aiding creature that crashed to Earth. So he's a predatory creature that is pretending to be a human cloud but doesn't entirely know how to pass as human on. This is accentuated by build Scots guards Fantastic performance. Essentially, what makes in creepy is the creatures using the costume of a clown as camouflage. This elicits deepen comfort as it is a visual representation off the way that predatory people will camouflage themselves as normal people to commit crimes. They look normal, but there's a monster underneath. Penny Wise for it was, for instance, inspired by the killer John Wayne Gacey, who dressed up as a clown. Teoh abduct Children. So we have the regular human proportions. However, before herds is just way too big on and the way he's kind of cheeks hanging over this extremely elongated smile, it goes up into his eyes. These are all just little cues to show that something's not entirely right on that he's no actually human being that he's actually this underneath. However, you don't get to the stage until later on fell. So next up we have pyramid head from the silent held gains. The creatives on So Hell took inspiration from the paintings of Francis Bacon, who painted these horrific but strangely beguiling paintings after the Second World War. Images, corpses and suffering prevail in his are then inspired the art, but for some hell, particularly his painting called a study of three figures at the base of the crucifix. Now, at first glance, the creatures look frightening and aggressive. They smile and posture, but if you look at them long enough, you see that they're actually wounded and mutilated, their suffering on the slightly pathetic. And it's this juxtaposition that can create truly horrifically and unsettling creature designs. But anyway, let's go back to Pyramid Head. So in the game, he's representation of the main characters, primal and sometimes dangerous sexual desires and emotions. Pam Redhead is overtly masculine and very aggressive, much like the warrior bug. The Heavy Pyramid Head's peace since be both straight onto him, causing him constant pain. This invasion of metal on flash is distinctly unsettling, and more important, he creates a highly striking image, landing the organic elements of his body with the graphic shape that seems to cut into it and natural. His design was updated violence until film to make it before angular, giving him a look close to the Egyptian God knew this this making pyramid had a godly and powerful figure than the He's essentially representation of this domineering and under unrelenting force that is uncomfortable feeling of being helpless or is ultimately a painful and suffering creature, this obscuring the horrid, deeper than if he was just a physically powerful monster. It's that mix off intimidation but also a feeling of discomfort that can help really make a monster memorable. And lastly, we have the Sanibel from Alien, possibly one of the most iconic and visually dense monsters ever made for film game. It was designed by the Swiss artist H. Archaea, and the Indian echoes his obsession with sexuality mixed with a cold and aggressive by mechanical design. It's similar to the pyramid head lethal sin that is, or both organic and inorganic, and those two clashing together really help it. Phil, quite uncomfortable to look at. Also, like the penny weights design, the mean is also strangely familiar, as well as being very different and other. It's a perversion of the human form brutalized into a living machine that only kills replicates, so the head is deliberately maze look very phallic, which itself can be very aggressive. And then that ends with the very nasty, the whole mouth with two sets of teeth. It also very importantly, doesn't have any eyes. This essentially much like the book design, removes any kind of wave identifying with the creature on any kind of emotional level. The anything close to a face is if you look very carefully and some models and in the actual original there is, in fact, a human skull here, which then continues on to the job, however, has been completely absorbed into this strange ends and completely foreign body. And what one of things I love about this is, but the skull looks almost like it's lost, like it's very last facet of human being that was brutalized into this design. But it's sinking down into the connecting he deaths of this creature and then emerging is this very aggressive, very feral mouth was also interesting about the alien is the creature is elegant and life like a dancer. It looks like it should be a strong as it actually is. When it does tear through people like paper that Chuck's position, perceived weakness and strength is what makes the design. That satellite, a big muscular creature on its own, is really frightened, whereas the more spindly amaze you to creature is. And it will comes that back to the feeling of discomfort you get when you have designed sensibilities. Clash. So you have. So you have something like pyramid hurt, who is kind of both imposing and pathetic. And then again with the Etienne, where you have something which it looks like it should be very delicate, but it is actually very dangerous. Is thes kind of lessons were going to be going into later with the creature, so I'll see you in the next one. 3. Sketching a monster: So now we're gonna start sketching the character. So the character going to design is based off the brief as follows. I'm gonna shave my design process, but feel free. T the copy me or to come up with your design decisions. You may find that you start making are installed The sign decisions along the way, even if you are starting from the same sketches of me. So the brief we're going to do is as follows it's gonna be for either a film or a game. It doesn't matter. Thesis ing is London. During the Second World War during the blitz, which is when the Germans bombed London, hundreds and possibly thousands people died. Bombing rates and many more went missing in our story. London is being stalked by a creature that takes bodies of wounded people down to its let into our thumb. From a distance, it looks almost like a man, but close. It's a monster. So instead of watching me do the initial sketch is I just assembled some sketches I did ahead of time and I'm gonna go for my thought process with the design has the important thing to remember is what I went over in the previous video. You need a mix of aggression and kind of sickly vulnerability, and that's what tends to make the good core character. So I decided with the brief that it looks like a person from far away but close Sisi. It's actually a monster. I decided to make the character look a bit like a cross between a man and the rats. So serve a Walkman. He's a rat, man. So this is my first sketch. I got kind of hunched figure here with the very long rap like Face and I I thought it would be fun toe have him wear a mask. So I kind of like a pail human mask that would hide his desires. And then you get that I'm a big fan of the double face of the kind of normal human face and monstrous face underneath and then doing more research into what rats look like. Some of them do You have quite this long wolf like snouts, but then they have these great big bulging eyes. The rap, like is so this is difficult to find pictures of rats that do Look, they're scary because most the time If it's a photograph of the rap, it's gonna be a domesticated one on they usually pretty well, taking care of their very fluffy and chubby. So they look kind of keep so you have to do a little bit more research to find feral looking. No. Make seated rats because no one's gonna have emaciated rats in captivity. Says is my next kind of Get the character. Give a man a coat and sack and the stunt to bring in the long hair and also with the mask of color of the long limbs. And I feel it is kind of getting there. But he's frankly looking a bit too cute. I don't know if you feel the same way. I Plus they actually really like rats like I think they're ready. I think there any cule creatures they're bringing in more aggression from this sketch I felt was needed, but I thought I would go in a slight mole, different direction for the next sketch, with these ones of kind of giving in McKenna loss for our to kind of look, not trustees. Great. Bring up an example. So this is not sorority from the film. What's frosty the film was essentially made by Think, a German film company that wanted Teoh make the film adaptation of Bram Stoker's Dracula. However, they couldn't get the film rights, so they did a essentially a cheeky report film similar to the ones made thes days to copy big Hollywood films. And there's such the design for Dracula is a lot different than in the book. Soren Thea Other films, however, it's still really interesting. I really love very love that the years can angle down to the chin, giving him a very pointy, very angular facades. And then, instead of the canines being the pointy teeth, it's the front teeth. So they add to the more wrapped lake desires to the vampire Rover, then a more back like look. And it's also helped by fantastic German Expressionism still make up the very intense black around the eyes and in these enormous eyebrows. But then to stop in having the kind of attractive qualities the romantic and sexual qualities off brand circus Dracula, at least in his later restorations. They've made him balls with the slate lumpy head, and he can has. It's much more diseased, kind of slightly pathetic. Look but that makes him much more frightening Then, say Bella Lugosi's Dracula or Christopher Lee's Dracula. So these nights under the continual with sketch and I think that last guy was a bit too human. Let's see if we can go from, say, here to here in our design. Trying marry the more this more restrained look with this much more aggressive look, and it is something you'll find. You may end up doing a fair bit with concept. Art is finding the happy medium between two or three different designs. Works unlike with horror characters having them stare directly at you or have Pennywise Well, I look where they look like they're looking right at new, but also through you just tends to make them. I feel a little more unnerve ing pull them anything. What's going? I think that big, well, so awesome with its residents. And now you have split up by the tuck lip. She can't wanna going further with that. Make it look a little bit more apple messed up a little bit more diseased, quite strong, Joe. Heck, I want to get quite weak chin high cheekbones, Hollande out. Kind of Look, it's still with big guys. What was going on the throne said, You kind of want avoid scowling, frowning kind of looks is that can too much aggression can make the thing look aggressive, but not critically unnerve ing? Not especially frightening, like you can look cool and scary if you have saying action story, you want to tell, like if you were having a kind of a fun horror action story like Hellboy. But if you want something very pure horror, she's nasty. Lank Rasputin, her most of definition teeth. Some of you may watch my videos, many places that sometimes liked to draw and blue. So miss my joints is I find it helps being quite free with the sketch, however, I found with horror, especially for some reason, just drawing straight in black. Even if it's a black pencil brush like this, I tend to get Mawr. What kind of disturbing results? That's what ISS. But Blue feels like a little bit of 1/2 measure, which is why, you know, with all of these lessons, I'm not giving any hard and fast rules just what I have found helpful. But if you find you have your own way of doing things. Then if you have your own ways, if you have your methods of doing things that you find works for, you go ahead. And I don't be one of those people who says you can't do this kind of work unless you have a Mac. Or if you use a Mac, then you're using the wrong piece of equipment like That's just kind of silly. Just just do what do comes natural. Thank you slightly. It's like the snively kind of pose. Here was interaction with the voice team gives this character. We had a voice. It'll be quite a mass nasty, kind of quite harsh accent is often given Teoh the scathing in Warhammer. She's very similar to this guy, which is why I'm tryingto tryingto voice that look do something different. But I definitely have a kind of nasty Yes, my mercy. I will take you down to my lab kind of voice. Yeah, I think there's a happy medium, this kind of design, which is very animal Ian and this design which is closer to human way, the smaller eyes on and the stronger chin, whereas people more receding chin here on the larger eyes, but still with a more recognisable human head. So that takes the sketch, and we're gonna do a more full body sketch in the next video. 4. Rat man illustration: Hey, welcome back. So we've got a character, at least the face sort it out. Doesn't mean what changes we go at least a little things. We know vaguely what it's gonna look like, and so we come up with a pose. Now I think this is a little too comical, and I think what would be fun would be to have a look where administration makes it like he's just been disturbed. So he's. But he's doing something, probably something quite horrible. Probably eating someone. Yeah, and he's just been caught in a flashlight. So what might be cools tohave? This is just the loose sketch. Some of my old tip here is if you wanna do a nice big, big shapes for a pose for more likely pose, make bringing a passageway down on the flow down and just make your brush a lot bigger. Then all details lost. And what kind of forced to make these big, bold statements with the brush we're off the thin going into the details and potentially ruining what it says she returns, ruining oppose by going too far into the details. He's probably got quite long coat on this narseal trenchcoats rain. Max is the cool UK, but I don't want them to obscure too much of the body. So I keep quite thin on life so you can see and just on going very, very lease and very fast as well. One of a one of the things you should keep in mind. Withdrawing at least the beginning. Be very energetic if you're very slow. If you're really not feeling the drawing, your kind of lack off energy will come out in the drawing. So and you can't go into those details, you can start the Boris see going off over the little things later on. It's fine, but for the beginning, at the very least, seems to be very quick. So I think I want to get at least a little bit of the mouth in just moving the arm down a little. - This guy would wear shoes. He's he's two groups for shoes in spring sketch up. Whether second leg is I don't want to she if the rags wisps like this, but put more emphasis on this but to give in what looks a bit like a tale, but not an actual Talas that maybe a little bit much. It's more definition. Let's be very, very aggressive with the eraser, especially in the alley time parts, especially in the early parts of the drawing, because it really makes he consider what's important to the drawing. What isn't because a lot of this is just half this is a lot of these is just love these lines. I just kind of throw away and will be to race later anyway. So might as well. I don't think started Jane more often is being much more detailed sketch, especially with things like the shadows, because I find if you put in a lot of time in the sketch and the initial line out and such , you'll find that a much easier time with the more difficult parts her on when he had toe adds form and color, making his coat quite quite disheveled thing. Actually, these old raincoats probably have can half cape. We go over the shoulders, but his is all this is all messed up. It's all gone. It's a little nasty because he's a particularly look like the kind of guy take care of himself. I also gives more interesting shapes and texture to the design pull. Do you held something? Having a bit like a rib cage here. He's tall, open, distinct, cool, making its mouth quite wide as well. Mammals like cats and rats can could make the miles go awfully wide when they want one, too. And this again, we want this guy to look like he's been. He's just been caught out. Seven futile details had more. As we go along, it's Yeah, nasty. Well, we actually do. Maybe Gevinson. It's a tough sell for Was like he's gonna fire line color That's just gonna hold. Pardon the pun. Ratty, please. Protease to be quite a nice for color for a rich ladies for lines Coat. He's stolen re appropriators. Well, help, Colonel, Extra mammalian touch dangled down. So helps characters. Kind of negative. Dark space here. See, for us like this is just sketch anyway. Okay, well, it's background. I think this is gonna be in a sewer and knowing how the old sewers in London work. Then with these holes brick contraptions. Some just had some plants here. This is probably gonna be black. Just didn't see police again. Is a good way off making sure. Especially when you do things like backgrounds that it doesn't overwhelm new because it can become a bit much and you can feel like you don't want to do it. But if you just break it down into its component parts, it's not. This is, uh, isn't she a point of interest stews and quick lines and they're heroes Sketch. So I'm gonna go into best way to color a horror illustration we're gonna do you doing. I was in black and white. I made a little color later, but now we've got our sketch you congee Line are if you want. If that's your style. If that's your inclination, thank great go heads. That's yeah, that's great. I'm gonna be doing it in my methods, which will be coming over in the next video. But if you want to add the lower at layer on top, then and then go ahead and you can see how long ago Phil and color the rest of this administration in the next video. So I'll see in the next one 5. Rat man final: Hey, welcome back. So filling in the rest of painting now switch to get old heart around, pick a mutual gray, just a slightly and laborious mosque filling out. You have the figure. Really, It's probably noticed. I'm done eating. Figure just the figure for the merman. Rough boxing corpses Well, so that I can just focus on the figure now and I can look into polling in the guts and nasty, this literal happy with this guy. It's just check. It's almost proof. Yes, that's proof. And then same sometime selects. That's a modify expand. Yet by five pixels. It's that's expanded the selection out. Bye bye pixels right click selected verse and just Phil much times. And yet it is the time saved. Then came this. Just put the behind. Hide it and work. Click on the drawing. Last great clipping mask. Listen, contact and it is always you. Put a new layer underneath the clipping. Mask it well, we go into the clipping mask while you're painting will be nice and contained within the mask base layer. If you dio another layer on top, it will just be itself. But then you can just clipping musk again and it will join lies below to clip onto this layer. His head in the skin Considerably paler competitive the rest of the body. Still more about details. Yeah. Anyway, minutes, guys, Gross. So disgusting. Love it. What, you gonna get the original? Just gonna get this between feet, legs talking this time, talking trances. Just being very just putting into sections like this will help him read slightly better. You in black and white. The eyes wipe another, do that teeth. You got some nasty teeth. Didn't extradite if the heads were not really nice and black. Yeah, course, it's very nice, but girls, dude, stop introducing a light source, which is gonna be here and cut and actually within the scene with lines. The pointing to him gives a nice focus. Just going to use the Grady until here. I've got it set to circle on Bond. I can right click it to have all these versions. To be honest, all these are redundant. All you need is Phil from this girl to this car will fill from new primary color to nothing . It's already something to build on this down on. Just gonna paint over it. Really shows you're black and just use a big soft painting rush here, used to kind of flying this area just slightly may have been that much. I'm gonna have some water here anyway. But she think that might be too complicated as we're just trying to show off the character in the movement rather than the environment. I'm not worried about shadows too much at the moment. This is only to show off the environment like givens a a sense of place. And it's not just accounts a car in in mid air but, you know, only too crazy with shadows, at least not quite yet. And I'll explain that. Why, that is in a minute, do you? Is you have texture have all life free of textures of either free textures. All pictures I made Oh, found myself with this one. Thanks this for a teacher around Select Tool Scott. But the eraser on that and that's what composers for a smart object. So you do whatever I want with it passed in town. Let's bring this to overly. It's way too strong now, I think just unimaginable down just because that would be too precious with them now one of the things that you could do to make sure you have a look for your illustrations that gives it a real sense of presence is to have the kind of course in the headlights caught in a flash photography look for your horror illustrations. This is very popular with lots of horror illustrators, as it really gives your illustrations of feeling of atmosphere and place rather than just a scene and under the going over all the different sets of doing that. But one of the early steps is to have a nice, strong shadow on I mean already strong, which is why I've given the background also very strong shows at the moment. So you just go behind your character on with just unlike solid black brush shadows and bring me policy down just but not touch. He's coming here. He would cast the shadows here so he wouldn't have you wouldn't have a shadow here, or if you would, it would be very, very small You So, as you can see, he's already sung to look less to D and more like he's taking up space within the scene. On the show's example, where the torchlight look is very pronounced as an example. Here is a shot from his story pork projects. They did a while back where the character is being framed by the spotlight. So you have a very bright, like here. Plans the and the clear shape of the spotlight cast a very, very dark shadow. The example is this panel for another story boarding project. And again you have the shadows on the actual subjects, if the circle of light but then the very harsh black shadow behind. And that's just the kind of reality of having a very bright light on a subject. And for some reason that this is kind of closest. You can get to a hack a supposed in this kind of illustration. Having that super black shadow and having the character look like it's being flipped by flashlights really just adds to the tension on drama of the scene. And to heighten that, we're gonna put a new blank layer on the top of everything. Get back to white again. We've got Grady Tool and which slipped a ramp was a ramp here in the center, actually here, said overly and yeah, already he we look like We just stumbled across the sorrowful guy, the dark and nasty place, and because we said it tobel a. The way that this layer has then affective the layers underneath have made these areas brighter than here, even though this is the same color as this on the usual layer. I like to put these in early so that I know how the painting is behaving with the FX layers on top so that I don't get too many surprises. Later on. You can get a bit addicted to adding lows lows of layers on top of an unfinished painting. And that's just a have it yield have to break out of as it can lead Teoh quite uninterested ing and overly produced work, so having as much as you like, but just remember to turn them off it resolved and turn that your pastie down. And, yeah, it's already starting toe come together. So where the light is coming from? Here can now be a lot more aggressive with the details. Science and shadows. I'm just gonna go in soft eso that late. Are you going hard with the shadows painting that could be as messy as I like because it's on the cooking mosque. See, it got very soft. But seeing as we go harsh others here we have our shadows. What's the pain? Cross over his own body. So this mean here that's going a very harsh shadow paying his own. This arm itself is going to cost quite a hard shell. His hand. And I'm gonna have some covering the face. Not too much, because he actually civil Already. It's to see this this horrible wreck Shiva creature. This is why I like to do the soft shadows first working to the hard ones because I kind of felt out where I want. The shadows go just softly, but a little non committal e. And then when they're more confident, I can then add the hard shadows without feeling like possibly 18 stakes of the game back into the details and switch brush. Stop getting your parcel face small aberrations of the skin. A zay said keys go all kind of. It's like the angry look, but it's not so angry that it's a Fillon style, more of a surprise. Now, suppose clipping mask and again because the lake is coming this direction like I liked thes areas here. Some of this highlights and maybe a bit much, but we can always raise it back again. Like to actually see what it looks like. The effects last dreams he passed in, weighing down home the eraser. Just come some of these bits down we still want. As you can see, just I'm working underneath the effect Claire I now and I want loosely or I'm gonna get when when they finished the illustration on there, which which puts to focus on what's a leave to send devices. To some extent, didn't she see what he looks like? She glow in his eyes like, Yeah, that's great to to compensate for its skin. It's just bring it down. So I command you to bring a huge saturation. Let's just bring like, Mr, because we still got a good amount of contrasts with the character up against the environment. That means thes highlights will also pick out a lot more dignity and doing the highlights over the sketch for the Leinart layer. This is the line that doesn't swallow everything is it? Sometimes can. He's being symbol textures such had small details, just little things like, uh, the wrinkle in this trials and say, Pat sugars, knees too many smooth surfaces, especially, let's be quiet, texture, character like this. Yeah, Gross wants to change corpse like this really dark. Just be messy. It's not gonna bay. Focal point of attention should make sure shutters gets here worse. Clip clipping, Mask down. Dio. It's just bring this extra sketch. Learn to living off. So it's only illness body part here, and I'm just gonna keep keep working. The sketches, the sketch layer essentially just use that as a guide suggests. More than anything, no, every illustration needs to look like Cannibal Corpse Record Cab cover. You don't have to show every detail of goal full, uh, nastiness. To read his goal. You can get a lot more done with just suggestion. Gonna get a texted brush here down. Just keep working at it. You'll see why in women lots of texture, it's kind of stuff quite bright. Highlights. This is wet. Yes, I know it's grace, but during ahora demonstration here, it will quite harshly catch the light right Darts, streaks like wet sausage, secret brim. Say then, really, this guy should have some some blood splatter. Should I wanted to go to you crazy with because it might detract from rest administration. But I do want to look like he's made a fresh kill such things in black around his face, and that's more black around his hands and then the same. Same with blood. We quite harsh with your highlights. I guess. You're right. It's cold. It's the same with tea character. The guts need shadows as well. Yeah, already looking pretty horrific looking pretty nasty. Another thing we can do to had some extra textures. That scene do new layer, then right click getting paint back to No, we want a very specific shade of gray. For this, we want to be exactly 1 25 which is the exact middle. Just the best kind of grateful The D Next felt supper to overlay said. She makes it invisible. You get filter noise at noise and I go way to 400. You don't liar, but nice and grainy calcium or uniform. I can't really see the difference. Keep it colored, then again commands. You bring situation way down, and now we've got it all feel great, but it's a bit extreme. Let's just bring it down 56 57 capacity. How I think I'm just gonna last few details, just some more highlights. Just dotted around with quite a harsh brush just in the environment, but not too many again. All the lines go towards our main figure. I wasn't sure if these riches or parts of the brinkmanship come out some, but I think I do. Those ridges just highlights the back of them with a light with catch. No. When the Genz keeping past lives brings out because they're a little too bright, media will distract from our figure hair in the middle. And there we go. You go Pretty horrific. Pretty nasty horror illustration. As you can see, this is what it looks like without the effects. This is what you click with, and you can see quite drastically how they affect the tone and the reading of the painting again with them without it looks okay. But here to go with a lot more atmospheric and yes, just getting that feeling of surprise on a feeling of threat and dread and environments is what's really going to help you. Please do your horror illustrations and you know you can go mad with textures you condone. Get mad with shadows, but a policy I recommend you don't. Another thing I don't tend to do is especially with this harsh, harsh lighting. It means that you don't get tempted into being very woolly with your shadows, where you start to use a soft around or a soft texture brush. It's based to really, it's not going into the shadows and really try and hide the figure. And no, it can feel like you're doing like a nice hat collection. Eyes cheat to make administration seen darker, but that's really soft. Shadows can kill an illustration. It can kill its reading. This is a much more easily read composition on easily read design. Then, if I was covering up with thoughts of soft shadows, yeah, it takes a bit of doing the bit of courage to go into the harsh shadows, but your finds that it pays a lot more in dividends in terms of the quality of work, he'll be day. So yet his Ah, horrible rack man, if you follow it along with the lesson, please send me your horrible wrap men or horrible creatures stalking wartime London. You confined me adventure in tow, Burt's on Twitter or Your Concern, The messages here on skill share If you enjoyed the lesson, please linear like and a good review. If there are parts of the lesson, you feel like it could do better than leave me review as well. If he really likes the video, then you can subscribe to my channel on the channel page. Andi, if you quote me as the person that got you into using skill share, then you get a discount on he subscription and I get 10 bucks, which is great forever on around. Also, you know, if you really, really enjoyed the lesson, please share it on social media. That would be a really big help. But most of all, I really hope you enjoyed the lesson on I'm looking forward to seeing your horrible creations by