Illustrating Digital Characters from sketch to finish | David Furnal | Skillshare

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Illustrating Digital Characters from sketch to finish

teacher avatar David Furnal, Illustrator/designer

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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

7 Lessons (1h 20m)
    • 1. Introduction

    • 2. Stage 1 - Gesture

    • 3. Stage 2 - Lineart and shape

    • 4. Stage 3 - Value

    • 5. Stage 4 - Color Flats

    • 6. Stage 5 - Tone

    • 7. Stage 6 - Final Rendering

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About This Class

In this class, we'll explore designing fun and unique characters using reference photos. Learn how to exaggerate, explore form, and give your characters an interesting story, all through the power of design!

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David Furnal



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1. Introduction: Hello and welcome to illustrating digital characters from sketch to finish. I'm David and I worked as a freelance designer and illustrator. I love creating exaggerated characters. Using design principles and techniques in this class will learn how to create interesting and dynamic characters using photo reference. Students will follow along with my lessons, and we will have a finished illustration at the end of the class for this class will be creating an illustration using a photo as a reference point. We'll start with gesture, move on to shape design and end up with a colored finished piece after each stage students would be working along. This is a step by step process that I think has great results. Good luck, and remember to have fun. 2. Stage 1 - Gesture: all right, So now that we have our photo in front of us, we're going to start by sketching a character using simple shapes and lines and using the photo for reference. So I started that making another layer on a white background in photo shop, and I'm gonna go in and use kind of like a middle gray just for the sketch part process here because I don't want it to be too dark. So it I'm losing some of the lines and shapes at first and this phase. We want to keep everything really rough, but also clear at the same time so that we're not worried about being too tied down. But we're also really emphasizing the clarity of the pose and the acting. So when I look at this, I see that this guy can that has a little bit of a NASCAR using one leg off to the side, and then it's counterbalanced with his other leg because he's actually kind of leaning against the wall and then he's using. He's has his hands in his pockets here. That's kind of like a counterbalance. So with that in mind, I'm actually gonna go over here now and do a little bit of more fleshing out. Gonna start with his head and kind of balance everything. All for that. Remember, I'm staying loose and rough at this plane, but I'm also trying to be as clear as possible and you can see as well I've kind of exaggerated and over emphasized his tilt, maybe more so than he was actually doing it in the photo. Because when we have foot is like this, the great for reference. But we also want to push things in ways that will make the drawing more engaging. When I could do here is I'm not crazy about the proportions yet some using the selection tool and then the transform tool. I'm gonna making him a little skin here, bringing it up a little bit. And I'm just gonna I'm just gonna go ahead and extend down his leg. I make adjustments like this on the fly because a lot of it is just how it feels. And if it doesn't feel right to me, I like to go in and adjust it as I see it. So what I'm also doing is establishing proportions and the relation of one shape of another . So I'm looking on his shoulders here, and I kind of want it shortened, make his torso on the shorter side. So it kind of drawing this line to emphasize kind of where his shirt bottom is. And then what? I liked him. Sizemore is that his is triangular shape of in form of his blazer that also kind of forms a cape. And I'm gonna have that come all the way down here and I'm drilling through, meaning I'm drawing lines that you wouldn't see in the final product. But it's a good way of me making sure my shapes are solid and that I'm thinking through the entire figure first. So now I've already if you can see, emphasize some of the points and made the blazer longer than it is in the photo, but also his torso shorter and these air areas that I can exaggerate is part of the drawing for good character design, and now I'm going to start slightly flushing out some of the shapes that I see. But again, I'm still keeping it really rough, and I'm letting myself move around the page a lot. I'm not tying myself down to anything yet because I know I was just making decisions first and effect. The triangle that I made actually breaks down into about 22 other separate triangles in the form of the sides of his blazer from how he's talking it in. And you notice I made these sides asymmetrical because if I were to keep some of the same lane, symmetry tends to be boring, unless it's completely intentional. We don't want We want to make things offset from each other as much as possible, almost making his head a little bigger. And these lines of drawing are just guidelines for where I think I would probably want to put the eyes and then where I think I want to line up the nose and the mouth later, then I just want to figure out where his arms are resting right now. They're kind of tucked in here again. I'm not flushing out the hands yet. I'm just kind of establishing where I want them to be eventually. But since I kind of kept that gray, I'm not in danger of getting too dark anytime soon. In this way, we have her gesture and a roughed or roughed out shapes, and we can go on to the next stage with starting to refine those shapes and start finalizing our line work. 3. Stage 2 - Lineart and shape: married. Now we're going to start refining shapes and finalizing the light work. So what I like to do first is actually flip the image, transform and then flip horizontal. I was gonna move him over. And what this does is it has an effect where we can kind of see if there's any errors in placement or, um, especially balance. And right now I can immediately notice that he's leaning a bit too far to the left. Someone going to go ahead and tilted a little bit. Also gonna just his leg. Something I should mention is in general when we're talking about balance. If you were to draw a line from the head straight line all the way down the leg, that's bearing the weight should align with that line. So we actually kind of want to make it a little bit over here. Without that way, he'll feel a little more stable. So then what I'm gonna do is make another layer, put the capacity down to go 30% or so. And now, as I finalized this a little more, I'm going to go in a little deeper and kind of go piece by piece and make sure that every form is lining up in that are shapes are really designed. At this point, we're gonna start in the head, remember, I'm still actually kind of keeping in a little rough, but I'm definitely starting to tighten it up a lot more to I'm still using my guidelines here. So I know that the notice is going to be around this area here, for example, and his mouth as well. This is where we can have some fun with it, too, where we can style eyes, certain elements, for example, we're still following rules of drawing and design, for example, is still making sure things are lining up. But we can style is the individual elements within their. I think he's got these really big eyebrows, and I like to emphasize things like that, especially because there's a lot of expression inherited eyebrows. It's kind of fun to exaggerate elements like that. I'm drawing through his head even though he's wearing a hat just to kind of make sure I know where everything is lying. I'm gonna draw the hat over that. The reason my lines aren't completely tied at this stage is because when we go to color, I'm going to really tighten up the shapes and block them in. So I just want to make sure that everything's lighting out. But I don't want to spend all this time like trying to make sure everything is super tight . Goto displays You're here. It was time. I'm still looking at the reference a lot, but I'm also style izing elements within it and clarifying everything. I'm adding things like this just to make sure my forms make sense and that overlap is important as well. See, for example, on the arm here, I mean it just a little too much to probably make sense. So I'm just gonna bring it in a little more instead. So it kind of where his hands were tucked in his pants. And I might want to race this line here to show that things are overlapping and those arms that arm is a front of like his jacket, for example. And then this time I'm just making sure everything lines up and I said it before bit. Things should also feel right. It's actually pretty easy to tell when things air off, get something just feels often an image so keeping it working fast and rough helps to make sure that I'm still kind of retained their life in the image to It's really easy to get tied down and get really tight early on. And when you tight down early on, its really easy to kind of lose sight of where the passion is in the image, a lot of the energy is lost a swell. These little rough circles I'm doing are just a way to still feel where the proportions would be under the clothes and nowhere things air coming from like the legs. For example, I'm making little changes here and there that I see emphasising certain things and shapes, making things longer, shorter as I see it. This is where some of your style choices can come in as well, where you don't have to be as bound by any particular set of look. But it's really important to get things like expression in it. That's phase two and especially shape. All right, and now we have have have a framework to build off of, and what I'm gonna do is from here on the next phase, go on to adding some values so we can start figuring out lighting, and at that point after that will start going into blocking and color 4. Stage 3 - Value : great. So now we're going to be adding values to our sketch, using some of the painting tools and photo shop, and we'll do a study of lighting and tone on our character. So what I'm gonna do is start with kind of a mid value again. And when I did before, this was I made a Another layer that is actually underneath are drawing layer and then I sit the drawing layer on top to multiply snow. Everything I paint below it will still be able to be visible, and we'll still be able to see our lines on top. So I'm going to go in and I'm figuring out how it's lit, and this will help to find the form a little bit as well. So I'm gonna start in the face and get elements where I know. For example, the hat is covering here and planes of the head. What's a little darker areas of the nose? This is a little rough still, too, but it is also some refinement to it. And I'm still referring to the sketch, of course, but a lot of it is based on exaggeration and again feeling, But what I'm doing is also a lot of areas that I know are below other areas, so the things on top will pop more. And I'm doing a mid tone first. So its not too dark or too late. And it still goes this in definition, and I can always get darker later there is here, like some of the folds. I'm just going over. Another thing I did in between videos is I just kind of cleaned up some areas of his face and the placement of the hands to kind of make sure they still looked like they're actually in his pockets. So it just kind of refined the drawing a little bit more with these fools. You don't want to draw every single fold because it gets really messy and also distracts from the main intention of the character, which I think is more of an overall feeling. If I were to draw these details down here right now, the joint could be about that. But this trying isn't so. I don't want to get caught up in detail in areas that is not needed as much. So this is kind of a value study in general, and whatever do is now they have a midtown established. We're going to make another layer on top of that and then get another darker value. That's basically in between black and the value I just was on. And what I like to do is go in areas that I know we're going to be below and start to emphasize that was a little more especially this area underneath his blazer. This is about one of the darker darks I'm gonna use in the sketch, so we don't want to use it too much, But I definitely use in areas where is the shape on top of another shave and start covering out. I didn't mention this before, but when I'm looking at these shapes, I'm also paying attention the negative shapes that are formed. So not only did I have a triangle formed in his blazer, but there's also smaller triangles within these shadows and, for example, between his legs and underneath Here, too. So since we've kind of established that as my shape language, I'm kind of trying to keep it consistent throughout. This feels a little more realized, and when I get to the point where I'm going to start coloring it. I'll have a basis for knowing where things were going to go and how dark or light I want to make them. I'm going back and forth here with the different value layers, this one keeping a mid tone because it's actually a light shirt. But I do want to separate it from the blazer, for example. You can go in here on areas, details of the nose. Usually there's a fair amount of attention. Give it to the phase, since it's usually the first thing we notice, and there's some planes in the head that we can start to finding more. So what I might do now is instead of having a stark white, I'm going to critically right above the background and just fill. So I'm doing shift back space and then I'm picking a color. And why would you want to do something kind of around this range, which is like a lighter grey? It's gonna lighten it up a little more so this is actually our lightest own right now. This is almost like drawing on tone paper, and then when I would do is make another layer on top of that where I would actually define where our lights are, so I would take the element that it's really are lightest, which will be a somewhere around white, but not quite white. And go in there is that we would notice a brighter here. This is a bit of a painting phase as well, and in fact you could take it from here and keep it a little more organic and paint this way. But for my purposes, I'd like to go and makesem more color blocks that are a little more shape oriented in a little more minimalistic, just based on my style, which is have a little more animation and Children's book oriented. But at this point, you could be a Z detail as you want to even this early on. So now we have a good, pretty good range of values that show both are lightest and darkest areas, and what we'll do next is once we get to the color fortune are gonna go ahead and start blocking in shapes with solid colors. 5. Stage 4 - Color Flats: Now that we have our lane work and values established, I'm going to go ahead and start using the lasso tool to create some selections for basic blocks of color. So I'm going to create a layer underneath my line layer that's blank. Put it all the way in the back here, and then I'm going to go with the lasso tool. Usually the freeform lasso tool is best, since it can select organic shapes a little better. I'm gonna zoom, inasmuch as I can and just to a selection of starting with the head. And what I'm doing is holding down the shift key to get this plus sign with a lesson tool. And what that will do is add to it every time I make a selection, and it makes it a little easier to make more complex selections instead of just doing it all at once. And for this is important to try to keep every body part on a separate layer, because otherwise it will get way too complicated with trying to keep colors matching. So I'm doing the head of to the neck, and in previous stages I mentioned about staying rough, but this is actually where you want to be a little tighter and more precise. So now, with this head and neck selected, I'm picking her color, and this won't necessarily be my final color, but it's going to be a placeholder color since I'm going to be painting value on top of this. So I'm going with the color that I think can work for now. And with that, you can hit Ault backspace to fill it and we see it. You see, we still have our value layers on top. So I'm actually bringing it up here so I can just see it above them and see my line work in front of it. When I can now do is change this Phil to a lower rapacity and going with the race tool on the layer that contains my color block. And I can go into actually carve out sections to make it even more precise. And what you want to do is work from big to small shapes and get more and more detail as you go along. So since I did the head here, I'm creating another layer below that and I'll do the jacket next. I'm just doing a mixture of zooming in and zooming out to first see the entire image and then go back in and get capture. More details. And so I'm actually capturing the entire jacket in the hair, even though there's details inside of it, because I can always go in on top and fill those in again. I'm picking colors that placeholder colors right now, but I'm purposely making them stand out. From what? Not about one another, so I can see the different layers. Okay, and now what I would do is make a layer on top of the coat layer but below the head layer for his pants. And for these, I'm using the polite journal lasso tool because there's a lot more straight lines involved , and I think it's a little easier just to make broader selections in this part. I'm gonna go with the grayish flu and the reason I don't have the photo in front this time . It's because I'm just simply filling in shapes and I'll be referring to a once we get to the parts where we start actually adding values to these colors you won't want for the feet . I'm going to keep both feet on the same layer. And then we want one for the hands here, which might be the same color as the head. But it's a layer that's going above where the jacket is going. Back on the freeform lasso tool for this shape, I just I dropped her tool on the head and filled with that shape here. I see. I just need to move it up. One. There we go. Go back in and just added some of the smaller details. This is where we know the coats going, so it's a little bit of front of their. Then I do even smaller details so that I'm going to do smaller details like the eyes and the Beanie on top of it. What it can do is actually make a selection of when I fill it and then actually co control J to duplicate it, Then edit, transform flip horizontal to flip it, since he is technically just kind of standing straight on there. Normally wouldn't do that with a 3/4 a profile view, but I think it actually kind of works in this instance, since we've kind of made other efforts in the drawing to make sure he isn't completely stationary or static. And then whatever do is. Even though I have a selection here of his head, I'm going over it again with the Beanie. Most of that is just to tell me kind of where it was already sitting. So these are more ways of discovering the space. I know ticks already exists. So again, these colors might be a little garish right now, but began their kind of just placeholders. But you do want to make sure you spend the time to knock these out first. The more time you do spend doing it, the better your end result tends to be, and also the more accurate. Then you can get, you know, even more detail, like doing the little eyebrows here, the eyebrows. There's something that wouldn't do what I did with the eyes, because actually, they kind of have their own separate movement. And it kind of helps for personality to make them slightly different from each other. And I have the means selections. They can go back in and use using actually the paint brush tool in this case, Michael ear for the eyes. It actually just paint them in and finding this I layer that I made what it can do is actually make a clipping mask inside. What that does is now I can move it around and it actually stays. Within that shape. We'll go ahead and do that. Here's a well and then lastly, before movements and next step would turn this off, which is the line layer, and I'm going in and just putting the linear details of the eyes. And you can add as much of these at your discretion. But it does help. To define where the eyes are was a little bit of a back and forth between making marks and erasing. So you do have to kind of play around with it a little bit. And then some of these details like the nose in the mouth. In the years I will start to define as I start adding value and more color to this. So this will be pretty good for our block color blocking and lay in 6. Stage 5 - Tone: senala begin painting our peace and we're gonna be using our value study and we'll be working back to front, largest small, and we're gonna paint the shapes that we see. So in the interim committee folder, with just the color blocks just and I called it colors for now. And I'm having that above the value layers that we made so they can shut it off and on again and kind of compare how the values air looking and right off the bat I might go in and notice that maybe his head here is a little bit great for one thing in a little yellow , some adding some going in the color balance. And I'm adding some red and actually some blues to take some that yellow off of it. It feels a little bit better, like a Midtown. And what I would then do is we to start painting. I would make a layer on top of that right click it and put create clipping mask. And what happens is now anything I paint inside that layer, the head, just an example will stay in there so you can see a campaign all the way out here and it only goes in this section, and that's really useful for when we're actually trying to contain the imagery. So I'm gonna put this fill a little, lowers I can see a little better and then start painting our values. It's the next to be or darker value, which is the one above the eyebrows here. Or rather, it's below the eyebrows. But it's in the eyebrow region, and some of these definitions of the face some of the contours, this area of the neck, etcetera. And since we already have are established color. Now that I tweaked, what I did is I I drop heard it. So it's in our color selection. And no, I'm picking the color that just a bit darker. And when I do is in fact, sometimes they're going the police spectrum when I have already a red or orange color selected for my main color because it's contrast ID color. And then I set my opacity of my brush to about 50% and I'm gonna make some marks here that correspond, and when I can see offhand is it's a bit too light in a bit to blue. So what I'm doing is control em to bring up the curves dialogue box, and I'm going to just bring down the middle to First of all, dark in it. And then I'm going control you, which is hue and saturation under spring, the saturation that a little bit. And this looks a little bit more like what I'd want to go with as a selection. And then again, this is where we're getting quite a bit more detailed and more precise. It's another to have this color. I can actually start going in and painting the areas that I wanted to find a little more, especially of the nose when my turn a rapacity back up. Now I'm doing again kind of a back and forth fly over, extended just come in and start carving it back down again. I'm defining those areas a little bit better. This part on the neck is probably where I want the darkest darks to be as well as on the under the eyebrows here. So what I can do is even make another layer and drag it over here and get a bit darker and just kind of redefined those just to carve it in a little bit more and then I might actually go in. And I dropped her my main color. Go back, go back to about of 50% and then paint over it kind of come back in just to show how it kind of lightens up as it goes down here. Same with up here and on this layer, I'll do the same and actually just kind of paint edges a little bit more. This is this where you're starting to define the forms. A lot more of this. I'm still exaggerating things a bit, like I'm making his knows quite a bit bigger than he is. I'm kind of mapping these colors, and what that does is it's basically adjusted guide for where I know they're being placed and how dark, or how late I want them to be. Also probably wanted to be darkest right under his beanie, because the Vini is actually like trapping a lot of light out of it. - You kind of want a combination of hard edge and soft edge, a soft edge being where there's a transition of form. So these cheekbones, what's turning over would be a little softer, whereas on the neck here. You want to keep this edge pretty hard to define the separation between the chin and that part. These were starting to get smaller details, but it kind of just helps to find the forms a little bit. And then whatever do is going tougher there and define a lighter value. We'll renew our lightest lights are going to be, which is hitting the top of the forehead here, the nose and the cheeks. We can confirm that when we did our value study here and I'm laying in these kind of really general blotches of pain and then going back in I drop ring and that mean color again and painting it back down where it turns form that helps it feel a lot more like a painting going back and forth between selections. And then I would do the same up it here with the Beaune years. So his beanie has kind of like a crow shade pattern. I could either keep mind. This kind of green color or a tested is necessary. This makes him tweaks. Very good, a little lighter, actually, and then doing the same thing. We're creating another layer, creating a clipping mask and then getting both the darkest and the lightest parts based on where the former is turning. And this isn't always necessarily a rule of thumb, but I should have lighter colors. My lights be reds, oranges and warmer colors in general, because that's generally a feeling I'm going for. But there's an equal amount of instances with a reverse commute tree, and it can be actually cool colors, especially if there's a cool light shining in another part of the image, kind of going back and forth between different areas of the image. Just checking my selections, go back in and defining things like the years His years in the photograph don't aren't to find that much, but I think it had some characters, so I made his little more pronounced in the drawing for his beard. I'd actually make that on a layer on top of where it was painting so you can kind of treated its own layer because the spirit is kind of a character in and of itself. Remember, I'm still going by my guidelines that have established, withdrawing see, What I'm doing is I'm shaping it out, and I'm not just drawing a bunch of strings of hairs together, I might have, like a little bit this little threads coming down. Just let you know that it's more of less, You know, of one shape and more of like a little pieces that make up it. It's got a little bit here. Then I'd continue with the other parts. This is the phase where I would go into more selections of individual blocks that we made and depending on where I want to go with this, make it a little more accurate to the drawing and to the photo or go in a completely different direction. His jacket in the photo. It's more of a dark gray, and I'm actually going for a blue color just cause I kind of wanted a little pop of color. And that's an artistic choice that you can make if you want for your character. And then after this would continue on from how we started painting the face and do with every other detail in the body, which will get more into in the next phase 7. Stage 6 - Final Rendering: okay, And then this last phase is where we'd spend as much time on detail on finances. You desire depending what kind of style you're going for. So I'm going in here, and I'm just selecting certain areas and adding the same details that we were doing. Another is a body going in and making more specific definitions. These are more linear ideas, but it's also defined with pain. These are more details that you'd see on its jacket, for example, referring to the sketch and to the photo, and some of them are more, a little more painterly, really like to stress the back and forth that you can always do, meaning erasing and then going back in again because you should never be completely settled on your lines. It's okay if the first lines you make aren't perfect. This is an area that I'm coloring in that I know is behind. So I know it's going to be a little darker when he notices going outside this layer. All I have to do is again right click and create clipping mask, and it goes back inside. You see, it's already starting to feel a little more defined. I could start picking up the creases to a lot of time. Drawing. This is kind of more of a minimalistic or animation style, but you can play any level of detail that you're comfortable with as long as you're consistent throughout. And here's where again. I would probably when I'm doing the light side of the jacket, go back to lick of 50% with a light color, and that way it's picking up elements of the blue underneath. Still, it helps to make my selection a little cleaner. You probably want to go for something closer to this value and color. I'm still gonna brighten it up a little bit, going to hit all the light sides. I can also again keep going back and checking my value structures and what I'm seeing here in my value study that I could actually probably go little lighter. Is this a little trick you can do in your layers? With this layer selected? I'm going to this little drop down menu and a set of normal. I can have it on a linear dodge, which brightens it up considerably. And if I'm not happy with help, right, that actually is. I can go in the Phil and bring in a lot further down so you can see it's actually a variation of this blue. It kind of gives it a purple tinge, but it still has that warmth. They can paint the rest. Actually, with that on, it was kind of further to finds it from the background actually ended up with quite a more interesting color than that Warren G. Red I had. So it's a fun tool to experiment with, and I can see I kind of went the background darker now. So he stands out a little more against it, and then it's just a matter of going back and forth with your adjustments. I might turn the fill down a little bit and also go in and do what we did with his head. Put the A passage. Now I want to make this selection of blue and became another layer on top, with the normal on here just painting over those areas just so it's a little blended more this these areas where the farm would be turning a little bit more but it is is turned off that value layer underneath that's just getting distracting we can add details to shirt here doing this value here and more just kind of drawing. So he has a striped shirt in the photo, which they kind of like. So I kind of want to go with that, too, just manually, adding, that kind of striped look here stole the way down. Soon you remember. This part is quite a bit lower, and so it is quite a bit higher. Thing is in the photo because I elected to make his torso a lot shorter. You might drawing. We have the pants here, check our values. I want something in this range right there. None of the important thing to remember is the more contrast I have, the more someone's. I would go to that area. So I'm not having too much contrast down here because I want the ID of focus on the head and the jacket. I'm still getting some definition to it, which is the soda. I was mentioning earlier about not putting too much detail in areas that you don't want the focus to be, which is entirely up to you. But it's also to your discretion. Remember, here's where to make sure we know that this leg is below this leg. I would just add some a darker value below it. Just areas you want to punctuate up a little more. Anyone ever says what shapes are on top of what I'm doing, what I did on the jacket earlier and just carving out these forms a little more, which I think helps it look a little more painterly as well. Not quite so rigid Teas, areas right here. Remember, we have her light layer here which actually didn't find in the value sketch. But I'm adding it here just for some emphasis. You could see him getting pretty broad strokes first and then making them smaller and smaller. This is the case for actually like how the normal looked a little better instead of doing their linear dodge on it. I'm going to keep it pretty close to that. - I even might go on top of these where his cuffs are and certain other is. I have one more layer that's even brighter is for little areas of pop. We're gonna keep it settled. Oh, concerned to really like it, though. So these I can even decided to finish up pretty close to here or again. I can just keep adding to it like his eyes kind of hard to see in the photo. But I can add areas of darkness and light to those as well, adding the under eye area here and just like a little bit of darkness, then highlights Same with the other. I You can also set other colors, too. Can ads a little bit of readiness to his cheeks and nose the low capacity. Is this a bit of that Where the form changes requires cheek bones are in this area that knows, even look in his eyes a little bit wound here. I'm just kind of touching up the highlights a bit, you know. So the dark areas again , however much detail you want is completely up to you, depending what look you're going for. - And I would just make sure all of what you intended to add is there. Like, for example, I haven't had the lips yet. Doing the mouth is one shape here having smaller details inside. - Turn off the mine tool line, layer. I'm sorry. Go back and zoom out like how he looks. So then a final thing I could do is I went in Google and I just typed in coat texture, and what I got was a few samples of swatches. That would be good textures for his coat, and I can actually bring that over and directly into the drawing. And when it does it put on this mask automatically because it's on a mask above the coat. Bring it all the way to the front, and since it's obviously overwhelming, I'm gonna turn the fill down on it quite a bit, but it's still allows for a little bit of a texture. It's a little settle. You could also paint on the race that layer if there's areas that you didn't want to show this much just a neat way to get some extra mileage study for trying. And in fact, you don't even have to use coat texture. You can find any sort of texture you look at on Google, an experiment with what looks best and that's about it. Thanks for watching