Shading and Highlighting a Character in Moho Pro | Chad Troftgruben | Skillshare

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Shading and Highlighting a Character in Moho Pro

teacher avatar Chad Troftgruben, Freelance Animator and Screencaster

Watch this class and thousands more

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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

12 Lessons (1h 29m)
    • 1. Intro to Moho Shading and Highlighting

      0:44
    • 2. Shading the Head and Hair

      14:27
    • 3. Shading the Coat

      10:26
    • 4. Shading the Pelvis and Limbs

      9:59
    • 5. Highlighting the Head and Hair

      9:13
    • 6. Highlighting the Coat, Pelvis and Limbs

      9:40
    • 7. Duplicating the Front Limbs

      3:53
    • 8. Ensuring Line Width Consistency

      7:45
    • 9. Polishing Up Line Work

      12:18
    • 10. Polishing Up Hands

      9:19
    • 11. Comparing Design to the Original

      1:19
    • 12. Conclusion

      0:26
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About This Class

In this class we will take a nearly finished Moho character and add some final touches such as shading, highlighting, polishing line work, and more! It's recommended you watch the previous Moho design courses I have posted before working on this.

This project, like my other classes, comes with work files to help you with each part of the lesson.

This is the final part of a multipart course on Designing a Moho Character. Check out the other Skillshare lessons so you don't miss anything:

  1. Sketching a Cartoon Character
  2. Drawing a Character's Head
  3. Drawing a Character's Body
  4. Shading and Highlighting a Moho Character (that's this class!)

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Chad Troftgruben

Freelance Animator and Screencaster

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Transcripts

1. Intro to Moho Shading and Highlighting: Hi guys, My name is Chad trough carbon. And you are watching how to shade and highlight a cartoon character inside of MOHO. Previously on this platform, we've gone through the process of sketching, inking, and coloring a character, both the head and body inside of MOHO. And this is more or less the final step. We go through the process of shading and highlighting, as well as polishing up any aspect of the character we see fit. So hopefully, you have watched the previous courses. If not, I'll leave links to those in the description below. With that said, I hope you're ready because we're about to polish up our character. 2. Shading the Head and Hair: For this video, I'm working off of 21 chat vector. Feel free to open up this file. We're now going to dive in and start shading the character. First. We'll cover the head, then move up to the hair, and then focus on the pony tail. We're going to apply a mask when doing this, just like we did with the shirt details. So let's come down here to the head and we can create a new vector. And we'll place this above the head. And we can rename it to shade and then hit Enter. Now, using the Add Point tool, Let's come up here to the top and enable autofill. We can leave auto stroke turned off as we're just going to use the fill properties for the shading. Next, come over here to the fill. Click on that. And there are a number of ways you can apply this. You could sample the skin tone and then drop the brightness down to create a darker shade. Or we can apply using a black color and then drop the opacity down depending on how much you want to shade the character. I'm going to use this method simply because I might end up changing the colors near the end here. And if you do that by going this route, you'll be able to adapt the shading to whatever color changes occur. So it's going to bring it up to about here to start and we can adjust this as we see fit, but we're just going to start somewhere and then go from there. I'm just going to come in and we'll start drawing up here a little bit. And then come in and just bring it down. And it's going to taper off near the center of chin like that. And then we can just wrap it around. It's going to cover the ear as well. And then we can just bring it up and around and release. So now if we click off of it, we're going to see just how dark this looks. And I think it's a little bit too dark. So I'm going to just click once, go into fill and then drop the opacity. And the good thing about this, as you can see, this update in real time, allowing you to pick the perfect shade for your character. So let's go right about here with the Alpha. And then I can click Okay. So there we go. To mask this, we simply need to come down and select both the shade and the head layers. Right-click and group of selection. We can rename Layer 7 to head and hit Enter, double-click, go up to your masking, and then choose to hide all and then hit okay. Finally, let's double-click on head, go to masking and exclude the strokes, and then click Okay. So there we go. We now have some shading applied to the head. And we could go in and make a couple of adjustments. I might move that up just a little bit. And coming in here, we could also do other things if you feel it's appropriate. But for right now I think this is looking okay. So now we'll follow a similar procedure with the hair. Let's collapse the head and come up here to the hair. And we will create a new vector. And we can name this one shade and then hit Enter. Taking the Add Point Tool, I'm just going to retain the same fill properties. I'll start right here and just kinda come down like this to create an edge. And then come over. And then up. And just kind of work around these two bumps up here. Select this. Come over and up. And here we're just going to encompass the whole side of the head or the hair just like this. And come down and then wrap it around. And then we're just going to bring it back up and apply it like so. So it looks something like that right now. But I want to apply a few more shapes to this. I'm just going to bring these points and a little bit, and I'm going to correct the curvature here soon. But we'll grab the Add Point tool once again. And I'm just going to start drawing. So we'll start here. And I'm just going to come down in shade in this particular. Random hair, just going around the edge like this. And I can wrap down and around. And once again, you just got to be careful with where you're creating your shapes here. So I want to create two separate vectors for this. I'm just going to come in and get as close as I can and then connect this. Once you connect to your points, we can come in with the transform tool and just move in and then even use the curvature tool to correct some of this. Might actually come in here and just move that point and then create another point. Move that in and up In, out like so. And that's not looking too bad. Of course this part right here will be eliminated once we do the masking and it'll be easier to see what's going on. But let's just continue to add in the rest of the shades here. And starting right about here, come up and create a bottom shade for this area. Going through like this. Come down, right? That just come around and we can connect it. So we have a shade there. Let's add a shade right here. Just for this part, just to add a little bit of depth to this strand of hair. Just like that. And I can actually come in with this one and just move it in like that. And probably will adjust the curves here soon. But let's just keep adding in the rest of the shades. So coming in here, Let's begin just by scooting that one back. And once again, to add depth to this, we're just going to add a little bit of shading going down and just going around like this, going all the way down. Just like that. And then we can wrap this one up and around. And we'll just kinda like that and place that one right there. Can make any adjustments you feel is needed just as long as this part of the hair is shaded, you should be good to go. Coming up here. I might do just a couple more shades to add a little bit of depth. So I could do one right here. Perhaps one over here. Do one right there. And I think that's looking pretty good for right now. Let's just zoom out. And of course this is looking a little bit off. So let's go ahead and fix that. I'm going to click on Shade, holding Shift, click on hair, right-click, and then group with selection. Go into Layer 7 and rename that to hair. Double-click on this layer and go into your masking. Choose to hide all and then hit Apply. You can see now it's properly masking out the different areas for the shade. So everything is looking pretty good. I'm just going to come over here really quick and click on hair and then come down to exclude strokes and then click Okay, so that way we have that one already in place and everything is properly masked. So from here, I could go in and just do some cleaning up with the shades and maybe just bring some of this in a little bit. Bring some of that down, tapered off a little bit more. Just kinda make it a little bit more stylized. Same with this part. Could just kinda taper this more so it's fading in more as we go in with that line. And everything else is looking pretty good. We could probably do a little bit more shading in these areas. So if we come in, I could just quickly add in some details like this. And you got that going on now. But the next part for the hair is to add in just one more layer of shading. So we have one layer here. I'm going to click and choose vector from the list. And I'm just going to add shade to, to the list. And we're just going to keep going. So I'm just going to come in and add a little bit of a darker shade here to the outline. So it's coming in here. It's going to follow this down like that and bring it up and down. And when I release, you can see it's darker because it's transparent. We have that darker effect already kick in. And I might just bring these things in a little bit more. Just like that. And again, you could go into more details. You could add more points here if you wish, for the detail of the shading. But for right now I think it'll work. So if we click off, we can see now it looks something like that. And you can keep doing this. So if you go into any area you feel you want to have that extra depth. Once again on shading to, I can just come in here and quickly trace this line. Create something like this. Perhaps come in here and just move it up a little bit. So it's out of the way. And if you click off, you can see now it looks like that and might just reduce it even more just by coming in here with these points and just shrinking everything down a little bit. So we have that now. And I'll do one more area here. We'll just go to shade too. And right here where we have the strand, I'm just going to create another darker shade right about here. Bring it down like that. And we can adjust it a little bit. Bring it in, do whatever we need to do. And the final thing we want to do for this video is shade the ponytail. This again is going to require a mask. You'll find the pony tail within the body group, even though we consider it part of the head. Let's create a new vector. We can name it shade. And then taking the Add Point tool, we're just going to come in and then place down some shading. So just like this should be fine. We'll have the rest of this just covered in this shade. I can come up like this and around and release. And actually looking at this, I might just scale this back a little bit and maybe adding a little bit of detail with this by adding in a couple more points. I can maybe bring something up like that. Just kind of have it come down. Maybe even just make it a little bit sharper like that. And now we have something that looks like this. And once again, we just need to quickly put this into a group by selecting both of those layers. Right-clicking and choosing group with selection. Click on layer 13 and rename it to ponytail. And then hit Enter. And then of course we're going to mask this as well as come in and exclude the strokes with a ponytail. There you go. We now have shading for that applied as well. So with the shades applied to the head, we're going to pause here and up next, move on to shading the body. 3. Shading the Coat: For this video, we are working off of 22 Chad vector. Feel free to open up this file. We're going to move now to the body and keep adding our shades. But first, let's come over here and click on the neck and will quickly add in a shade for this. And then move down to the color and then the body. So coming over here, we're just going to fall a similar procedure from last time. And again, you could add these shapes to the existing vectors if you wish. But I just find this to be easier to mask this out. So we're just going to use the Add Point tool. Come in here, can add a little shade right here and release. And I'm still using the fill properties from the last video with the shading color. And if you need to, you can always go in and reduce the transparency of black until you match up the shading as you see fit. If you come over here an eyedropper, this, you're just going to grab this grayish color versus actually grabbing the alpha properties. So keep that in mind if you plan to use the eyedropper to jump back and forth. But now I just want to come in here and maybe round that off a little bit. Perhaps move it up and just mold this. But like that should be fine. And we can properly mask this just by going over here and grouping. And then we can rename this to neck. Double-click, go into masking, choose Hide All. Hit OK. Double-click, go into masking, and you can always hit Apply and then jump to neck without having to redo this step. But sometimes I forget about that. Just exclude the strokes on neck and then click. Okay. Now we can move down to the color. And once again, we're just going to add in a quick shading effect for this by creating a new vector, naming it shade, grabbing the Add Point tool, and then coming in. And I'm just going to do something like this. We can come up and I can go around. Let's go down. And I might come down like this to the bottom. But then kinda wrap around like that and bring it up. And then kinda down like that. Then from there we can cut it off by coming over here like this and applying it. I'm going to mask this first and then correct the shape. So I'll select them both and group them with a selection and name it color. Double-click to go into the layer settings, set your masking to hide all, and then hit Apply. Go to color, excludes strokes. Okay. So now that has been properly applied. And looking at the shading here, we can make a couple of adjustments. Just coming in here. I might drop this down a little bit so that the shading here tapers off and we can add a little bit of a highlight here later. And then I'm just going to grab this and move it down. So we kinda taper that out a little bit. And then moving over here, this isn't looking too bad. I might bring this out mourn, grab the curvature tool and create more of a straight edge for this part of the shading just like that. And actually, I know I probably should have done this before, but I'm gonna go back to that color layer and just add a little line like this extending out from the color. And then we can create a shape or a stroke line to kind of extend that line out like that. And that can kind of help with the shading then. And we don't need it out that far. In fact, I'll probably bring it in more like this. So something like that. And then you have your shading right here. And I might bring the shade out more to kinda go along with that line like that. And this bring this up a little bit more and maybe bring that one down like that. There we go. So that's looking a little bit better. We zoom out, we can see the shading has been applied now to the neck, in to the caller. So now let's move on to the body. First, we're going to add a shade to the back, much like we did with the hair and the head. So let's hide the front arm. That way it's easier to see. And let's go down to the coat. And I'm just going to drop into that group. We're going to create a new layer. So we'll add a vector on top of everything else, and we'll name it shade and then hit Enter. This is currently masked, so we should be able to go in and just start working with this. I'll start with my shape right down here. I'm going to start right below the color, so we can add a little depth to that by adding a shadow. And then we can wrap around and start to drop this down in, fall along the backend here, and kinda go down like that. And then we can wrap up back in around. And there we go. So we can click off and we have something that looks like this. We need to come in here and play with our points and the curvature. So I might drop this down to about there and then come in and play with this. Take my Alt key and just bend the separately to get a sharper edge on that shape. And I can also extend this out a little bit as well. So now moving down here, everything is looking pretty good except for this final part. I might just straighten that out. So it's not borrowing as much. But other than that, it's looking pretty good. I'm just going to add a couple more shades here. Let's come over here to the other edge of the coat. And I just want to add a very thin shade on this side. So still on that shade layer. Or you can do a new layer if you wish, but I think using the same layer is fine. I'm just going to come down here and create a second shape. I can wrap it around like so. Bring it up and there we go. So if I click off, we can see it looks like that. So the masking is working. But now I just want to go back into this layer really quick and use the curvature tool holding an Alt. We can move things like that. And like so. Just to kinda get everything in line, we come back out. We can see we now have a thin shade line applied to that side. Also looking at this, going back here to the color once again, I might come in here and play with this line placement. If I grab this, I can move it back. And like so. And then maybe even drop this one down like that. Now we have this line right here and that's not good. So maybe what I'll do is just come over here to the height edge tool and grab that and click on this line to hide it. But we still have the shape. So now we kinda have this little dip with the color and it goes with the shading. So you have something that kinda looks like that now. And it just kinda helps fill out that shape for the color even more. And going back now to the coat, I just want to add a couple more shapes for the shading. Just right on the bottom here. I can come in and I came and connect it to this one, that's fine. And just come down and around and is connected like that. And I'm going to do the same over here. Just come in, come down and connect it. And then using the Create Shape tool, just select that shape, holding Shift and last sewing all the points that you want to create. And we're just going to fill this in. We're not going to use the stroke. We can create a shape. And we can do the same thing over here. Create a shape. Then using the curvature tool to straighten this out so it bends along with the coat and same with that side as well. And then we can dip this down just a little bit. And that's looking pretty good. So now we have shading applied to the body, to the coat in this case, and it's starting to look better, more polished. I'm going to pause here and up next we'll keep applying shading. 4. Shading the Pelvis and Limbs: For this video, I'm working off of 23 Chad vector. Feel free to open up this file. We're now going to finish off shading the rest of the character. First, let's start with the pelvis. So I can zoom down there. And I want to find the pelvis on the layers panel. We're going to add a shade layer above pelvis. And using the same shade properties from the last video, I can come in and start applying my colors. And I'm going to do a couple underneath the coat to start just to again highlight depth for these objects. So we'll come up and do something like this. And release. And take a look at the color here and that's looking pretty good. So then move over here. And we're just going to apply a shade going down like this and over. And then we're just going to wrap around and down like this, about right there. And just come up around and release. Now we can take the curvature tool, come in here and start to alter the way this looks. I can bend this down and create a straighter edge for the shading. Now, it's not going to really matter right now because the leg is in the way, so we're going to correct that in a moment. Let me just come in here and alter the lines over here and just try to get this short up as well. So we can just bring these points in and back. And that's looking pretty good. So let's jump over here to the front leg. And I'm just going to take these points, click and move this one down, as well as that one. That will then help with the shading, as you can see, makes for a more natural transition. And then from this shade we can move over to the leg in ABA shade down like that. Which is what we're going to do right now. So let's just make sure you can see as I'm adjusting the bends here, it's altering the shape of the leg. So let's just keep it about like this. Maybe a little bit higher. There we go. And I want to add a shade layer to the front leg. So I'm just going to click once and add a vector, name it shade, and hit Enter. And we're going to create a very simple shade effect by taking the shape tool with S on the keyboard and selecting the rectangle. And I'm just gonna start right here and move the shade down like so and release. Now I don't have autofill enabled. So I can just select this entire shape. Use create shape, makes sure Phil is enabled and then click Create shape. And you can see now we have created that shape. And it's looking good. Of course we need to mask. I kind of forgot about that part, so we'll get to that soon. Let's just move down really quick and cover this part and then we can create that mask. So jumping back here to the shade layer, we can keep going with this shade if we wish. So I'm just going to add a point to that original shade and just kind of move it down like that. And then move this one down like so. And we can kinda smooth it out like that if we wish. So it looks something like that. And then taking the curvature tool, we can maybe just bring it in a little bit. So we have that now. And then we have the foot. So I'm just going to move down here to the leg and foot. And we're going to create another shade. Take the Add Point Tool. I'm just going to create a shape that goes down like this. And then just kinda over like this and down. And we'll just kinda create something that goes like this. And then over down. Just again to add a little bit more depth to this. Let me bring it over a little bit all the way to the end. And we can kinda just darken the bottom and bring it back and round and go up and over and click it into place. So now we have a shade that's going to look like this. We can go back through and make our corrections, but let's first go through and mask everything. That way. It's easier to tell what's going on. Going back here to the pelvis on our list. We'll select the shade in the pelvis and group them together. Rename the group. Pelvis, double-click on the layer to go into the Settings. Go to masking, choose Hide All and apply. Go to your pelvis, exclude the strokes and Apply and click OK. Now for the front leg, you can see that we have two shades for this. So we're just going to make two separate groups. So for shade one, we can just come in and group this with the front leg. Rename it to front leg. Same with your front foot. Come in and rename that one to front foot. Double-click on front leg to open up your layer settings. I'm going to select both front leg in front foot and then choose to hide all and then hit Apply. So that'll mask both of those. And then I can hit. Okay. And we can do the same for the front leg in front foot. I can double-click to go into the front leg properties and then use Command or Control if you're on Windows and select the front foot. So we can select two of those layers at once. Go over here to masking. And just choose to exclude all strokes. And we can hit, Apply and hit Okay. And everything is good to go now. So we have a shade applied for this and it's not looking too bad. But we might want to go in and just double-check to make sure all the curves are how we want them. For instance, I could see myself just adjusting this a little bit, make this a straighter edge. Kind of bring it up like that. And let me come down here. Kinda bring these things out a little bit. And it was going to use Alt to create a point sort of like that. And we'll do a straighter edge down here as well. Let's just come in and get all that short up. And just like that. And there we go. So now we have the shade applied for that and it's looking pretty good. Finally, let's add a quick shade to the front arm. I can just jump back over here to my layers. Let's just collapse the head so it's easier to see what's going on here. We can reveal the front arm which is already masked, will just go into the front arm and above front arm details, we can create a new vector image shade, and then grab the Add Point tool. And we just kinda want to continue off of this other shade. So we'll kinda start like that. And we're just going to bring this all the way down. Bring this over and over, and just kinda wrap it around like self. Take our curvature tool here, holding Alt. And I just want to straighten everything out just like that. Except for this part up here, we kinda have this little curve going on and that's okay. Just like that. And that kinda rounds off into the arm, then we can maybe move that a little bit more. Let's look into a little bit better. Maybe just come in here and adjust the curvature a little bit at the top here since it's tapering a little bit more than I would like. So I can kinda just come in here, make those adjustments. There we go. Okay. Oops, not that. There. We now have the shading applied for the arm. With the shading applied, we now have more depth with the character. We're going to pause it up next, we'll jump over and start applying highlights. 5. Highlighting the Head and Hair: For this video, I'm working off of 24 chat vector. Feel free to open up this file. We're now going to dive back in to the head, going back to the beginning of this section essentially. And we're now going to apply highlights instead of shades. Let's start with the hair. That's going to be less highlights and shading with this character. And so there's more highlights in the hair than the head. So that's a good place to start. Let's locate the hair. So under head, we can find hair and drop that down. We have two layers of shading. Let's go into that group and make a new vector which we can name highlights, and then hit Enter. So now let's just move over here. And I'm going to grab the Add Point tool. And for my fill color. And instead of using black, we're going to go all the way up to white. And it's going to be slightly transparent like the shading. I'm not sure if we're going to keep it here, but once we start drawing, we should be able to tell. Let's go right here. I'm just going to draw in a little highlight on this bump of the strand. So this come up and around and down and release. So now I can reshape this just really quick. Do something a little bit easier to work with. And if we take a look at this, it's looking pretty good. I would say the LFO is good for this. And I could adjust the shape using the curvature tool. But for right now, I'm just going to apply the rest of the highlights as I see fit. So I'm just going to come in here. It's kind of add some highlights to emphasize different parts of the hair. So just like that. And then I can come in and maybe add one like that. And another one down like this. There we go. Coming back up here. We're just going to keep moving along here. Oops, we don't want to do that. There we are. Adding one right here. And it might come in later and adjust how these lines are appearing. I can already see that I might do some different things and the polishing stage. But for right now it's okay. You can come in and apply one right there. And we could do a couple more there, but we're going to keep the highlights more on the side, I think because that's where the light source would be comparatively with how we have everything going on with the shading. So let's emphasize this strand a little bit. We can maybe add one over here. One right about there, right here. And let's do one right here. Okay? So now I could go through and using my curvature tool, start to bring some of this stuff in. So it's a little bit more streamlined. So there we go. Maybe just bring this up a little bit. Bring it closer to the edge. There we are. And I'll do the same with this one as well. Bring that one to the edge, as well as that and that. And then we have these spots over here. And these are looking pretty good. Again, you can play around with the curvature settings with this, but I don't think it's looking too bad. Okay. So I think that's good for the hair. We don't have any highlights for the ponytail since it's behind everything, the most will have for the light source is right there. So with that complete, we can move over to the head. I'm just going to collapse the hair, go down to the head and create a vector name it highlights. And then hit enter. And we'll create a thin highlight on the edge of the head. Kinda like how we did with the shading on the other side. But I'm just gonna come in here and add in that slim highlight and kinda go down like that. Up and over and release. Here we go. And we already have a mask on here. So that works to our advantage. We can come in here now and just shake this up and get it where we need it to be. So there we go. This one appears a little bit less vibrant. So if you wanted to, you could also come in here and click on the fill and maybe just adjust the highlight a little bit more for this one. Maybe putting it right about there and that should be good. And we could add some more highlights here. I could come in and just looking at this, we could add a highlight right here for the nose like that. And we could add in the highlights on the nose itself right about there, making sure we create a shape for that so that we fill it in and we can put in some highlights down here, just around the lips, something like that. And again, making sure those are filled in. We can go ahead and do that. So this is looking pretty good. I can just step back and I think the last thing we need to apply highlights two is the eyelids. So we're just going to move in to the eye is really quick and I'll jump to the top eyelids. And we can make a new layer for this and we'll just name it highlights. And I can move in. And I'm just going to add a quick highlights right here. Going up like this, down. And I'll adjust the curvature of that here. We'll just select all the points for this and start to bring the curvature settings in to a peak. And then it's going to shrink this in a little bit. I'm just going to bring that up like that. There we are. So you have something that's looking like this. There we go. Okay. So with that in place, and I actually might add just a couple of points here that way I can bend this over like that a little bit easier. So with this in place, we're just going to select all the points in the news Command C and then Command V to paste. And it's going to move the highlight over, right about there. Maybe over a little bit more like so. And then just move it down like that. So it's not overlapping the eyelid at the top. And I'm also going to move the highlights layer here above the bottom eyelids. So that way I can just use this layer for both. And I'm just going to select these both Command C, Command V. And then at the top we can flip vertically. And then just bring this down like so. And then just bring it up like that. There we go. So now we have highlights for the eyelids. And again, that kinda helps make things pop a little bit more. So there you go. Highlights have been applied to the head and hair. 6. Highlighting the Coat, Pelvis and Limbs: For this video, I'm working off of 25 Chad vector. Feel free to open up this file. We're going to continue building up the highlights for the character by focusing now on the body. The first thing we can do is add a small highlight to the color. Let's come over here to the color group and we can drop it down. And above the shade layer, we can create a new one and name it highlights. Using the Add Point tool. We're just going to come in. And I'll apply a small shade, or I should say, a small highlight to the edge, just like this. And I'm going to also highlight this edge just by coming in and applying my points like so. So we can come down like this and over and over and down. So now if I release, we have something that looks like this. The shading seems a little bit too dark right now. And again, that happens going from different colors. So I want to click on both of these shapes using my shift key, using the selected shape tool. And then come over here to the fill color and then just drop the opacity down a little bit. So maybe about right there, that's more appropriate. And then I can click OK. Taking the curvature tool, we can come in now and just holding Alt, make our adjustments. Maybe taper that one out a little bit like that. And just keep moving. Coming down like this. There we are. And then over here, I don't think we have to do too much with this side. Maybe just bring that part in a little bit. There we go. So now we have a slight highlight with the color. Moving on to the coat. We're just going to do similar steps here. And again, we really wanted to focus on the face with the highlights, but we can add just a couple of different areas where we can highlight, especially like the edge of the jacket, which will just help make it pop more. And that's where we'll start, is on this edge right here. Coming over here to the coat, we'll create that new layer above shade and name it highlights. Then grab the Add Point tool and just come in and come down. And you can make your adjustments just like this. And release. And we can come in and just kinda shored up. So it's just a really thin edge going along the side here. There we are. We click off, we can see we now have that highlight. And again, it just kinda helps make everything pop a little bit. And now we're going to do the same thing on the left side. I'm just going to come in and apply these points. Adding this thin highlight right here. And just coming in. And again, it doesn't have to be much of a highlight. Just a little bit can help with a depth of all this. So just come up like that. And now we have something that looks like this. The highlight right here is kinda intersecting the shading. So what I might do on that bottom point is just come up and this bring that up a little bit. And then as far as that little bubble is concerned, I can just come in and straighten it up using the curvature tool. And the same for this part right here. You can just kinda come in and straighten that up. So that way it's not intersecting with that shading on the bottom. And I guess I did the same thing down here as well. So let's just make sure it's not intersecting. Just kinda come up like that. And just a small change shouldn't be that big of a deal. There we go. There we go. So now we have that setup. Highlights are in now for the coat. And we could do some more highlights if we really wanted to, but I think that should be good for our purposes. But we can now move over here to the front arm. And we're just going to add in just a very quick layer, kinda like we did with the shading on the arm. So coming up here to front arm, we can locate shade and then just add a vector above it. Name it highlights or highlight, I guess in this case would be more appropriate. And this time I'm going to grab the draw shape tool. And we will use a rectangle with autofill turned on. And I'm just going to draw out a rectangle like this. Take the transform points tool and just rotate it so it's like that. And then bring it over. And then we can kinda line up the angle a little bit better and bring it in more just to create that highlight. And we can modify this now once we have it in. So I'll come down here to the bottom. And for the Add Point tool, let's turn on sharp corners just to make this a little bit easier. And I'm just going to add in a few points like this. Going to bring that one out and bring this one up. Let's kinda bring this over a little bit like that and edit a few more points right here. And just bring that over like that. Because I had a few more points and I actually needed, but that's okay. We can kinda just command and get it all straightened up like this. So there we go. We now have a highlight for that arm. If we click off, we can see what it currently looks like. And we can do the same now for the bottom, just coming down here. First, we can add a small highlight to the pelvis. Let's come down to the pelvis and just create a new layer. Name it highlights. And grab the Add Point tool. Once again, we're just going to continue adding to this edge. So I can come down beyond this shade right here. And then just add in a brief little highlight like that. And you can see it looks like this. Now. I can jump over here to the leg, which is going to be front leg. Make a new vector name it highlights. And then coming in, we're just going to come down and add a nice shape for this highlight. So we'll go right there. I can move this over, kinda come down like this, and over to the edge and then down. And then I'm just going to loop back up, go all the way up here, and connect. So now when I click off, we have a highlight that looks something like this. And just zooming in here, I'm going to grab this point and bring it down so that the stroke hides it. And I can even bring that out a little bit to have that taper effect, little bit more gradual. So now you have that. And I would say now we are good with the highlights. If we hit Command R or Control R, if you're on Windows, we can bring this up and you can see now it's looking much more lively with the shading and the highlights. We of course need to add in the back limbs now that we have the shading and highlights in place, that is going to be easier. So we'll pause here and up next, we will duplicate the front limbs. 7. Duplicating the Front Limbs: For this video, I'm working off of 26 Chad vector. Feel free to open up this file. We now need to take care of the back limbs up to this point. We haven't touched them. And that's because why not just duplicate them? But why not duplicate them when we have everything else in place, such as the shades and highlights. So from here, I'm going to come down and click on the front arm. Come over here and we're going to choose to duplicate the layer. I'm going to name this B dot arm and then come into the layer details here and also change this to be armed details and B dot arm. So that way there's no confusion as to what this is. Next. I want to come over here to the top bar with the transform layer tool selected and flip horizontally. And then we can simply bring the arm over and line it up with the sketch as best as we can. Now, we need to bring this below the body. So let's come over here and just hide some of these layers so we have an easier time seeing what's going on. The back arm should be below the pelvis. So we're going to drop it down there. And if we come over here, we can move this up so that it's closer to where it needs to be with being connected. And there we go. We can now come in and duplicate the front hand as well. So we'll just duplicate that front hand to let's just bring it down so that it's below back arm. I'm just going to flip it and bring it over like so. And again, we're going to make changes to this here in the final polishing stage. So that way it looks more appropriate for the back arm. And let's also come down here and change front hand to two backhand again just so there's no confusion. And then you have the front leg or just going to duplicate that. Name it back leg. Drop down her layers and just name that bottom layer back leg as well. That way, again, if you need to search, it'll pop up and we can bring this below the pelvis. And then we're just going to move it over and get it where it needs to be. And the same for your foot. So we have V dot foot. Let's bring it below the leg. Make sure we change the bottom layer name to be dot foot. And then I'm just going to move it over and then up so that it connects. And it looks appropriate in symmetrical with the front foot. And there we go. At a glance, the only thing I see that we need to polish or the hands, but we're also going to go in and look at all the line work and make sure that it's where we need it. Because as I've been working with this, I see that the lines are pretty thick. And so I might go ahead and adjust those in the final stage. But right now, the character design is pretty much complete. It just lacks polish. So we're going to pause here. And in the next section, it's going to be about polishing and wrapping up this project. 8. Ensuring Line Width Consistency: For this video, I'm working off of 27 Chad vector. Feel free to open up this file. This is pretty close to being complete, but there are some things we can polish up, such as the hands and the line work. If we zoom in a little bit more, you might recall throughout this course, I mentioned, I might go ahead and reduce the line size. And I'm going to do that right now. So starting with the head, Let's go into the hair group and locate the hair layer. Next, using hue on the keyboard, I can select the Select Shape tool and come over here and click on the outline. And when I do this, it's going to select those detail lines I put in. So here we can come in and enter in three and hit Enter to reduce the line width. I want to do the same for the hair itself. So I'll click on the hair. Phil. Come over here and enter in 34 line width. Hit enter. And we are now good with the hair when it comes to the line width. And there are the things I want to go in and do with the hair, such as polishing some of the line work within that layer. But for right now, let's just jump over here to the head. And under the head group, click on the head itself, select the head with the Select Shape tool, and then enter three for the value. The ear is counted as a separate shape. So I can come over there and click on that, enter in three and hit Enter. For the assets inside the head, we're going to reduce the line width to two. That way the outline is more bold for the character and the details appear finder. And then we'll reserve the wrinkles for a width of one. So let's come over here and make sure everything adhering to that. First, if we click on the eyebrows, we can zoom in. And using the select Shape tool, I can click on one and just come over here. We'll reduce it to two and reduce that one to two as well. And then going inside your eyes, we have the eyeballs right here. You can just come in, click on each one and enter in the value that you wish to have. In this case it's two. And we're gonna do the same for the eyelids. So just Command and Enter to same for that one. And then you have your bottom eyelids. So you just come in and you're good to go. End. The pupils don't have an outline, so we don't have to worry about that. We do have those wrinkles, but those are currently set to one, and so we're good with how those are presented. The nose is also at a width of two, so it looks the same as the eyes. And then we have wrinkles around the mouth, which is set to one in that works. And coming down here to the mouth, we can adjust the width. So let's just go into that opening and taking the Select Shape Tool. I can adjust the width to two. And we can change the tongue to two. And you have top teeth. And then we have the bottom teeth. And there you go. Let's keep moving down. It's going to move out and go down now to the neck. So going into the body group, I can locate the neck. In here. We can just come in. Once again, reduce it to three. For the color. You can come in and reduce it to three. And then you have your front arm, your coat, your shirt. You might have to hide your coat in order to see it. So there's click like this. We can reduce that to three. Next for the shirt design, Let's go in. I'm just going to select all the shapes and you can do this by clicking and holding Shift. And we're going to reduce that to two since it's inside of the shirt. And I think that'll help with the consistency. And you can see that the color line is also set to two, which helps. So now we can bring the coat back and we have something that looks like this. If we go to the coat details while we're here, we can also go into the line work and take a look at this. And everything is set to two as well, which works for what we're doing here. Now, I'm going to move down and focus on the pelvis. Just moving down, you have the pelvis right here. Command and really quick, we can just reduce the width to three. And then you have your front leg. Let's come in here and reduce it to three. And then you have your foot. And you have a few shapes for this. So if you wanted to, you could just come in here and take the Create Shape tool and select the whole thing. Reduce the line width to three, and create your shape. And that should put the line width down. And then you have the back foot and leg. So come in here, the back leg, we can just change that to three and hit Enter. And then for your back foot, just come in. And once again we can just use the Create Shape Method, put it the three, select the stroke and apply that effect. I also forgot to do the hands, so we'll just jump right back up here and first locate the front hand. And we'll just come in here and make sure it's set. And actually, it looks like we just need to dump it back little bit to three. And that's looking pretty good. Come down here to the backhand. And we'll also set that to three. And then the pony tail. Just come in here. Make sure we scale all the lines and everything back. Just like that. Now, you could save yourself some time by creating different styles while you're drawing it, honestly, that's something I just have never really worked with. And so I typically just correct on the fly like I did right here. But we now have something that's more consistent with the line work. And I prefer the three line width compared to four when it comes to the outside design of the character. So I'm going to pause here and up next, we're going to keep working on refining the lines. 9. Polishing Up Line Work: For this video, I'm working off of 2008, Chad vector dot Moho. Feel free to open up this file. We're now going to go in and just refine some of the line work a little bit more, just so it's more appealing before we wrap up. So first, let's focus on the hair. You can see here I went in and added some line work to help with the curves. But as I continue to look at this, I'm wondering if I should do something a little bit different. So coming in here as wanna take a look at this and thinking about maybe dipping these curves down a little bit more and perhaps coming in and just refining this part of the curve and kinda bringing up more like that. And then we can come in here and work on this curve by bringing that up. And again, this will require just going in using the alt key in moving your Beziers handles around. Just like that. Then we have this little dip. So continuing on, I'm just going to raise that one up. And I come in here and actually remove those lines. I don't really need those. And then we have something that's looking more like that. I can then come in and just shrink this up a little bit, refine this bump more. Perhaps just bring it up a little bit like that. And, um, I come down here and also just correct some of these bumps just so they look a little bit more appealing. And also looking at this, I'm going to remove this line right here. So we no reason to have it, since we already have one right there. And then looking at some of this line work, I feel like it could be a little bit more pointed right here. Again to create some more definitive curves, kinda like we have on the top here. So just come in and can bring those out. And once again, we can bring these down. And let's grab this point and bring it up. It'll help us with the Bezier is here. So we can kind of go up like that. And I might add a second or third to that bottom line just so I can bend it over. And again, just refining this a little bit more. And I could also add additional line work just by looking at this here. But first let me just correct some of these other bends a little bit. And you gotta be careful if you correct it too much, you may have to go in and alter your shading as well. But I think rounding that off is going to work. Maybe come in and around this one off a little bit more. It'd be kinda bring it down like that just so it's not so symmetrical with the other side. And that hair doesn't really connect to the head at this point. So I'm going to grab it and just bring it down to have it connect. And then I can kind of bring up the strand of hair like that, or even placing it like this should work. And then coming in with the curvature tool, you can make any corrections you feel are necessary. But I think that should be okay. And I might just smooth this one out a little bit, just to add a little bit more variety. So kinda done like that. And that's looking, I would say a little bit better. But now I could also go in and maybe add a little bit more line work just to places that I feel could benefit from it. So it'd be at the end here. I could add a little bit, something like that. And on these ends I could even come in and just add some lines like that. So by going in, we have altered some of the shapes and just how the design is looking. I'm going to take the Create Shape Tool, select all the points, making sure that the width is set to three runs stroke. I can create the shape. And now if we look, we can see those lines are filled in. And overall, I think the details pop more. And I think it's going to work. My only little thing is i'm I come in and just bringing this part down. Just a little bit. There we go. So now with the hair looking better, I'm going to go down to the ponytail and just make some other tweaks. By looking at this. I feel like I could come in and just Benson the lines a little bit more. And we could even add in some other line work if we wanted to. But I think just by coming up here and kinda doing what I did before with the bends. I'm just going to remove some of these lines. I think I might add it in too many detail lines and some of these spots. And just kinda bring things back and remove all this too. And that's looking a little bit better. Let's bring it up, up. And there we go. So again, just a little bit of polishing here and there. You can also play around with the Curvature Tool. Again, just to make sure that everything is the way you want it. The other thing I want to correct or polish up is the mouth. So going into the mouth layer here, let me just go into the head, locate the mouth, and let's go to the teeth first. I just want to add a little bit more detail to what I'm doing with the mouth. So taking the Add Point tool, I can come in and just add a couple of points, perhaps four points total, just to add those. And I can bring this up a little bit. Again to add a little bit of something more to the teeth and just what's going on here. So something like that. And if you want, you can even go in and try to round this off and see how that looks. I can grab my Bezier handles here. There we go. So you can just do a little bit of a round edge like that just for some variety. And then for the bottom teeth, I'm going to do something else as well. Coming in here and taking a look. I might just add a couple of points like this. And I'm going to try to wrap the teeth around. Kinda like this just a little bit. Not too much, but again, just to kind of add a little bit more depth to what's going on. And actually maybe I'll try something like this. So come down, give me back a little bit like that. And then taking the curvature tool, I can come in. And I'm just going to kinda round some things off like so kinda make it look like the teeth are going back a little bit into the mouth. So something like that. And I can do the same on the other side. Sludge just add a few points. And I'm going to bring this one down. And this one down. You can kinda morphed over like so. And up. And then once again, take the curvature tool just to round things out. And we can bring that a little bit closer. Maybe. Actually, let's get that back a little bit. We're going to move the tongue, I think. So Now with the teeth arranged like that, I'm going to grab that tongue and we're just gonna move it back a little bit. Just so it's a little bit more offset. And we can also add a little bit more detail, the tongue as well. Let's just come in here and add a couple of points like that. Actually, I'm going to undo that. And before I add those points, uncheck sharp corners that way it doesn't deform as much when I come in and do this. And I'm just going to bring these over and kinda dip it a little bit like that. Bring this down. Kinda get it situated and then maybe committed and aligned to the tongue. So something like that. And then we can create our shape. I'm just going to create a stroke line. I can click off and that's looking a little bit better. Again, more refined, I would say. The bomb teeth are still not really correct. Let me just come down really quick and I think I just need to move these points in a little bit. So perhaps like that and then just take the tongue and take that little part there and scooted in. There we go. That's looking a little bit better. And we could go into, and you could add some shading and different things to the mouth. But I think for right now, what we've done there helps with the form of it. And I believe all the other areas are looking good. So if we come down here, we can see that everything except the hands, I think, is shaping up to look good. The last thing we can do is just come in and skim the body to make sure there's no anomalies. Once again, with that color, you can see we have something going on right there. I seem to always have to adjust it every couple of videos, but that's okay. It just kinda how this whole thing works, which is bring it up like that. So that way we don't have that awkward transition. Everything is looking a little bit more solid and we can now move down. The line work is looking good except maybe for this part right here. If I come down here to the coach and look at the details, I feel like I could straighten this out a little bit more so it looks more in line with the top one. And then for this line, I'm just going to add a second and create a slight bend. And I think that'll help with that line. So now if we come back out here and actually I might move that one down just a little bit. Things are looking better. And so those are the types of details you should be paying attention to. Make sure the shading and everything is lining up. As you can see, we have different shades on the color and on the body. But it sort of all connects, especially here with the arm. It just kinda keeps going down. And so having that nice, consistent shade is also something that you would like to pay attention to when working in this final phase. So with all that, I think we're looking pretty good. So we're going to pause here and up next, we'll focus on polishing up the hands. 10. Polishing Up Hands: For this video, I'm working off of 2009, Chad vector. Feel free to open up this file. If we zoom back in, we can now focus on the hands. And we don't have to do too much here. I just realized that they could use some more work. So let's come over here to the layers and I want to locate the front hand layer, which is underneath body. So right here, click on front hand. And the first thing I want to do is adjust the size of the middle finger. It should be longer than the index finger. So we're just going to bring it down like that. I'm not quite sure why I miss that the first time around. But also using the curvature tool, I'm just going to come in here and refine things a little bit. So let's kinda bring things down like that. Point the fingers out a little bit more. And then just kinda move some things around. Can put that right about there. And just bring this down. And then I might actually just move everything in a little bit like that and kinda bring it out. Now I would say that's looking a little bit more appropriate. The other thing we could do, and this is something you could do anywhere. But if we take what is called the line width tool, I could go in and point-by-point here, reduce the lines. So that way it looks like it kind of tapers off and it's known as bunched up. So if we click off and we look at it and you can see it looks something like that. But I'm just going to play with this a little bit more. Maybe add in a second right here, and then come in and adjust the curvature of that. So I can bring it back like that. And then we can bring the pinky down like so kinda make a rounded off shaped like that. Okay. I would say that's looking better. The last thing I wanna do here is just add in some details to help with the hand. So using the Add Point tool, I can turn off autofill for right now and leave auto weld on. I can come in and just start adding in these different details. Now again, it just depends on how you want to approach this, but I'm just going to come in and add some knuckles just like this. And we can come in here and modify those shapes. But like that. And that should be pretty good. If we come in here now and use the Create Shape Tool. I can select all those lines using stroke. We can create the shape. Now, these lines might be a little bit too thick, so let me come in here and reduce those two. And you can click off. The other thing you could do is come in and perhaps drawing some fingernails. So again, it just depends on how detailed you want to get with all this. But you can most definitely do something like that. If I come in here. We can just use the curvature tool and bend things around. Perhaps create a second right here that we can kinda bring up like that. And you could just kinda bring it up as far as you want. That's me right there. And then we can use the Create Shape tool. And we just want to select the points that are involved with the fingernail. So just like that. And we can use both. I'll come over here to fill and choose white, but let's just reduce the opacity. And then click Okay. And then I can create the shape and kinda see what it looks like. I might come in here and actually reduce these details to one. For all of it Actually for the wrinkle, for the knuckles and for the nail. And you can see now have something that looks like that. So from here, we can just quickly copy and paste this stuff. If we wanted to. Just come in and quickly lay down some fingernails. Again if you want that detail. So again, we can just kinda do something like this. And then just copy and paste it and bring it over. Modify it a little bit. And you can just keep going. And then we'll just shrink that went up. Put it in there. So now from a distance, the hand has more detail and it's looking a little bit better. So now, for the other hand, we could command and just apply some different tricks. But first, let me come down and using my transform points tool, I want to once again adjust the shape, perhaps apply another point, and then come in here with the curvature tool. And just try to round things out a little bit more. Create a more pleasing looking hand here. And the thumb can act a little bit different for this one. So maybe we can bring the thumb in a little bit more like that. And see here taking this point, we can just kinda bring it in like so. And then just kind of adjust everything here. Again, creating a more natural bend for everything. And we can come in and also reduce the size. Kinda like we did with this one. And we can also just bring it over and kinda eyeball it to make sure that it's going to match the size. As close as we can. We wanted to look a little bit different. So we're just kinda playing around with this. There we are. We can bring it back like so. And then once again, using the curvature tool, you can come in here and adjust how all this is currently shaping up, just kinda like that. And then instead of nails, we're going to see some other attributes. Perhaps we could add a phone line like so. And then maybe just coming in here, we can add some lines like this to the poem. Just kind of like that. And you could add more and maybe we'll just add one more, kinda like this. So now taking the Create Shape tool will come in and set the stroke to one and create that shape. And now we have some details that look like this. And we can also go in and tweak those details until we get it exactly where we want it. So something like this. Maybe down a little bit like that. And then just taking the curvature tool, I might bring these things in a little bit more. There we go. So now you have something that looks like that. Again, you have two different sides of your hands and their setup a little bit differently. Again, you could continue to play around with those. Maybe we want to space out the fingers a little bit more. Or perhaps you want to go in and tighten up the fingers. On the other hand, it just kinda depends on how you want to approach it. Again. These are all things you can play around with it. As you can see, I could spend a great deal of time just tweaking all of this. But that's looking better than where it was. At. At least we now have some differences with the hands. That's all we need to do. I'll pause here and up next, share my final thoughts. 11. Comparing Design to the Original: For this video, I'm working off of 30 Chad vector. Feel free to open up this file. We have now completed this rig, or at least I'm going to call it good for now. What I've done with this file is imported, the original design I did before attempting this course. And you can see that there are definitely differences to each of these designs. Neither of them, I would say are bad or good compared to the other. There's just some differences here. And I do prefer the one I did before I dive in into this one. But we could easily compare these two and get this one closer to that one if we wanted to. But ultimately it's kinda cool to look at this too and just see what you can do between different versions. There's just a lot of little changes here. And things of course also get adjusted when recording. Just to simplify and make sure that the information is getting across. However, if you are looking to see a slightly different version of this, you can open up 30 Chad vector, which is the final file for this course. And you can compare these two and see what I mean with how all of these differences can add up. 12. Conclusion: And that's it. Hopefully now you have a fully designed character that is appealing to you that you can now take rig and animate inside of MOHO. And yes, I do have lessons on how to rig and animate and they'll becoming as soon as possible to this platform. So thank you for watching. Keep an eye out for those rigging courses. And I'll see you soon.