The Ultimate Guide to Drawing Cartoon Characters | Maria Avramova | Skillshare

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The Ultimate Guide to Drawing Cartoon Characters

teacher avatar Maria Avramova, Illustrator/Animator/Filmmaker

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

21 Lessons (6h 54m)
    • 1. INTRO - See what you can get from this course

      3:55
    • 2. Lesson 1: Loosen your hand to start drawing

      7:07
    • 3. Lesson 2: How to draw perspective using a sphere

      27:27
    • 4. Lesson 2 (Extra): How to draw cubes in perspective to draw cartoony legs

      18:50
    • 5. Lesson 3: Different approaches to draw a cartoon elephant

      43:17
    • 6. Lesson 4: Draw advanced cartoon character in different poses - Part 1, Happy Elephant

      29:32
    • 7. Lesson 5: Draw poses of a cartoon elephant - Part 2 Sad Emotions

      25:42
    • 8. Lesson 6: Draw different cat designs - a cartoon cat with defined features

      18:03
    • 9. Lesson 7: Draw a stylized cat

      13:46
    • 10. Lesson 8: Draw cartoon cat with more human-like features

      19:08
    • 11. Lesson 9: Draw cartoon cat with evil look

      18:59
    • 12. Lesson 10: How to bring to life even a very simplistic character

      51:18
    • 13. Lesson 11: Draw an advanced cartoon bunny

      13:56
    • 14. Lesson 12: Prepare some general facial expressions

      13:27
    • 15. Lesson 13: Happy Bunny

      22:03
    • 16. Lesson 14: Sad, angry Bunny

      21:25
    • 17. Lesson 15: Cheeky Bunny

      12:08
    • 18. Lesson 16: Draw a Turnaround

      21:50
    • 19. Lesson 17: Draw your own hands

      8:54
    • 20. Lesson 18: How to Draw proportions when posing the character

      18:10
    • 21. Lesson 19: Draw a Fox using a digital tool

      4:50
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About This Class

If you have ever dreamt of becoming a character designer or an illustrator of children´s books or just to be able to draw cartoony characters for your kids, even teaching them how to do it, this is the right course for you.

It can be overwhelming when you don´t know how to start and where to start from. But I will show you one very simple technique which will open the doors to your creativity and will take away your fear of failure once and for all. Because this is the only thing that is stopping you from that unfulfilled dream of yours.

So, what will you learn here:

  1. How to loosen your hand and free your mind through the right technique so that you can draw anything you want.

  2. Understand the basics of what makes a character looks cartoony, cute or evil.

  3. Understand and experiment with many different designs for making a cartoony character. Find your own style.

  4. Give motion and emotion to your character.

  5. Learn how to apply facial expressions to exactly your particular character and design.

  6. Attach the right facial expression to a body posture to make the emotion stronger.

  7. How to keep the proportions of the character the same in different drawings.

  8. How to draw cartoony hands.

Meet Your Teacher

Teacher Profile Image

Maria Avramova

Illustrator/Animator/Filmmaker

Teacher

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

 

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

 

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

 

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

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Transcripts

1. INTRO - See what you can get from this course: Hi there. My name is Maria of removal, and I'm an illustrator and character designer and film director of animated movies. Have you ever dreamt of illustrating your own book or even making your short film? I'm here to teach you how to draw cartoony characters. I had been in the industry for over 15 years, working with Pig teams, working on many animated movies, designing characters, animating and putting life into them. And I'm here to tell you that this can be used. Whether you're a beginner or a little bit more advanced. Maybe you have a dream of becoming a professional illustrator to work in big teams and create this fun cartoony characters which later become even legendary. Think of Disney and Pixar and illuminations to the, you know, the medians. These are characters that are drawn by people with big dreams, like the new. So, and you think, well, that's not for me. I control. Well, I'm going to prove you wrong. The ability to draw good characters or to draw well, to start with is only 1% talent and 99 percent of effort and practice. And I'm going to show you a very simple principle, very simple technique that you can use to do though and draw and to loosen your hand and your mind. And be able to draw great cartoony characters because you know what's stopping you. It's not your hand is actually you might draws. And as soon as you think that you're going to make a mistake, you've kind of back off and you don't want to draw altogether because let's be honest, we all want to get a payoff of an effort we put in. So to do that, I am going to free your mind and I am going to get rid of this fear of yours. And doing one thing. I am going to throw the eraser for this lecture. So you will draw freely using gels, do pencils, one blue pencil and one black one to define the final figure. I'm also going to show you that only one way to draw cartoony characters. I'm going to teach you different approaches of how to draw cartoony characters. And then later on, you will be able to find your own style, your own approach. I'm also going to teach you how to use different proportions to design cute or evil characters. Or more likable or more likable characters. I'm also going to teach you how to put movement in the characters and how to give them emotions. Because what is most important, what makes us connect with the characters? Is there emotions? Also? You will learn how to keep the character the same size as well on very simple principles that will help you when you design your book or your short film to keep the character the same size. In addition, two dots. I am going to show you also how to draw cartoony hands using only spheres. So let's start your new career. Designing cartoony characters. 2. Lesson 1: Loosen your hand to start drawing: Hello there. Now let's start our first lecture. This lecture is aimed only tools on your hand. So at first it might seem, it might seem a little meaningless, but believe me, this is a very essential and very important lecture. And what you do is you grab a blue pencil and a black pencil. And in this lecture we're just going to work with a blue pants off. Why do we need a blue pencil? The thing is that it's only to trick or minds. When we draw something with a black pencil, we tend to think it's more definite, it's more final. So when you draw something with a blue pencil, it feels, it feels more temporary. And in this picture it is important to have a sense of just practicing of having something not completed or temporary so you can loosen your hand and you don't need to go into too many details. I tried to be perfect. So let's start drawing some circles and hold your hand a little bit at an angle. So you don't hold your hand like that and try to draw like a perfect circle. This is something we have to avoid. It's very, very important. So hold your hand and a mango like that. And just stopped scribbling is just like, just like have your hand follow this movement. It doesn't matter that it feels unimportant or goofy or you feel unsecure was like, What am I doing here? I'm going to tell you in the next lecture is how important this is. Just draw some, some circles. Let your hand go loose and draw another circle. Just go as fast as you can. As fast as you can. You have to get your brain to get used to being loose and sketching. Because your hand doesn't draw. It's your brain that draws and you're trying to do everything perfect from the get-go. And that's why that's why you actually can't be perfect. You have to, you have to find the basic form first. Suit, just draw messy circles, masses, circles. Go ahead. And you see the difference, even for me, because this is the first thing I do today. How difference, how big a difference it is from this circle to this circle? I mean, I make less. Unless circles before I get a perfect shape. And this happens every time. I mean, if you need to draw just circles one day, all day long, while for example, watching TV or talking on a phone. And you just do this unconsciously. Just do that. You see how big difference that it's going to make for your drawing. Continue drove circles. And this is going to be the foundation of what we're going to use here to draw cartoony characters. Fill up many papers. If you don't want to use your nice paper to draw circles, just use printing paper or you can even use some newspapers actually all use purpose. They aren't. The only thing here is to get your handless. So you don't see it. Don't be afraid to draw because most of the people who failed to complete drawing is because they think they're bad, because they think they know they don't have a talent. And believe me, tell one has very little to do with how good you draw. Because even if you're very talented, if you don't practice, you're going to lose. You're gonna lose your, you feeling of drawing. Because drawing is mostly about the feeling and getting used to the shapes than what it is that something that's given to you, something that you talent at about? And I'll show you how these replies to you a little bit later. So here has some circles drawn. And you can see that already in this stage, even though those are just scribbles, you can see that we can actually notice if you, even if you squint, how the circles become perfect in the thicker part. You see. So if we get or black pencil and a black pencil, we tend to identify with the more final look of a drawing. And you try to trace on the thicker part of the circle. For example, in R you can see that you can feel and kind of see where the circle is rounded. And you can find the shape is here from the scribbles. And you see that we have a more perfect circle here. And even if you don't go with just one line, even with a black pencil, you just have a perfect circle. And here you go. So in this lecture in the hole, this tutorial, I'm not going to use any eraser because what do you beginner? Eraser is actually your enemy. And that's because the first thing you have to learn is being unafraid. And if you have an eraser, it means that you don't allow yourself to make mistakes. And it's very, very important to start with, to be comfortable with making mistakes and to not stop. When, when you think, oh, this drone sock and I made a mistake and I'm worthless and not good enough and blah, blah, blah in R and you just drawing altogether. So do not use eraser to start with in this lecture. And I'm showing you that because I'm not going to use any eraser in this lecture. So let me show you another trick with the next paper. 3. Lesson 2: How to draw perspective using a sphere: So I'm going to show you another trick here using just the circle, how to identify and how to find the perspective in that rock. There were a lot of tricks doing that. There are some other tricks we're using cubes or square forms or lines. But I'm just going to use circles here to show you how easy that is or something that you can use you can find comfortable. So let's draw a huge circle. Just again, let your hand bill loose. Don't try to line it out. Just scribble in our play with it. Do a read really ugly circle. In R. You can even do that. As an angry child. After a while, your brain will actually do this in mechanical movement. And the more you do it, the more you see the perfect circle in it. You see that. And that's what we are shaping here. And there you go. You see that we have one perfect circle with very, very thick borders. If we call it like that. And we don't have a scribble anymore. So let's assume that this circle is exactly and from the bus. So, so we can draw one line. Whereas in the middle, find the middle point of this circle is tense exactly in front of us. And we can have one midterm line here. For example. You see that I'm not using any tools to find the middle line, but just scribble in the same way. Again. I can't, I can't point is enough that it's good for you to to draw in a way where you're loose sand in when you don't have to be completely perfect in your first drawings. So if we say that this circle is exactly from the past, I mean, oral lines of all eyeline is looking straight at the circle and this is all the horizon. So one circle is actually a sum of many, many circles. And if we tilt it, if this is a circle that go right through the circle all the way. If you see a three-dimensional, if we go fruits circle, I'm in diameter. And then we will not see, we will not see this circle or an ellipse. We would just see a line. But the lower down, although the higher up we go from this line, we start to see a rounded form. So for example, if we cut this circle in the middle and it will cut small pieces of it. Lower down. What we will see of the pieces without moving, it's just have the same point of view. We will see kind of wines like that. And we, if we say that the circle is transparent. So so we can see through it. It means that the mole hour we go, the more the intersection will go, will form an ellipse, kind of a squashed circle. And if we are to cover it too, just to make it more clear, what I mean. For example, if this is, if this circle is in half over here, we will see not flat surface. And if we cut this over here, we are going to see these flat surface. You see is it looks like as if it's transparent. And the lower down you go, the bigger. This fear this circle is going to be, or this flat surface. Because we go farther from the central and the perspective. And here it will be even wider. End in this room. It's going to be maybe like that are kinda of like lions suggests how this lower so-called it's going to be, it's like the end at the end of the circle and we can see through it. So it goes down like that. And the same, the same way in the same principle it is, if you look up, Let's start from the one above, is going to be also hard half circle like that. Now, I can show you here also how to make a perfect ellipse. Like if you, if you draw 1 here where the circle meet the surface and 1 over here, and then draw a straight line between them. And you have this middle point. Just build. And you have this line over here. And here's another point. Just draw another line on that point. M, connect that line with another line that's go, don't go straight up. Well the other point meet and do the same thing here. And how you can make a perfect ellipse is actually this, this distance here is exactly the same, like the distance from the other point of the circle. So you can just do a symmetrical thing in just mirror that part of the circle over here. And you can do that with every other circle. Every other sphere. On top of the law. But I'm going to show you roughly here how the circles are, are continuing the perspective. So if this is a straight line, this one is going to be thinner. And this is going to be basically the same size as this one. But just if we were to cut this circle over here, we will just look this line. Instead. Let me draw it with a tissue where the black pencil so you can see clearly what I mean. Just follow approximately of what you think the middle of the circle is. And let's have the circle as if it is solid. As if with carrot up just a little bit above the horizontal line. And we add some shadows. And you see how the circle looks as if it's in perspective. And these flat surface. So if you cut this over here, it will also be something that will look from high above, from top up. And the higher up we go. If we see right down at the circle, then it's going to come back again to a perfect round, round shape. If you look it from straight down on a perfect circle. So this is the principles, the only principles we will use to find the perspective in our cartoony character. So what I suggest is just do this exercise. Just find, draw one sloppy circle and just try to find the perspective lines above and below. And below them. The horizontal line and the lower and lower down you go, the wider. The wider this elite space, get A's and do this exercise also to draw a symmetrical circle using this principle, like finding the point here and here, connecting it to the line that crosses the upper point of the circle and just mirror one. Yet trying to do exactly the same over here. And that's going to be the basics of or next lecture and all the lectures that I'm going to show you here and drawing to kneecaps. Now before we continue. I will also show you how the supplies for the other side of the vertical side of the circle. So if this is a middle line and we see it's straight ahead, there's going to be an invisible circle that is going to be behind. If it's, if you see this, just soak up front and we will not see any circle, but we will see just a straight line. And the further away we get from the circle and the cactus logo in the middle, or not in the middle, but a little bit from the side. The same thing will apply. As you can this perpendicular pose or mouth. The same thing will apply for the vertical side of the circle. The farther away we go from the central, the wider this elliptical shapes become. And you see M. So again, if we are to cut this circle over here, let's, let's put it with the black pencil. I'm see what we've got. We will see the outline like that. And here we go equally put a sign on it so I can show you exactly what I mean. So you can see it clearly. This is going to be or shape from the site. Every here we have a symmetrical kind of behavior of those lines. While, while here we can see one circle from from up, down, from up. So if we define this line over here. And just color it. Is, it is if we see kind of like a small hat, like daft, like a camp. And from here, it's going to be this line that's going to be visible if we are to, to try to cut the sphere. Over here. We're going to see a live smoke pot. You see, you're going to see the, the, the sphere from this side and this is from above. But from the site, they are exactly symmetrical. So it's easier to carve the circle over here is going to look exactly like this shape. And you can do a simple exercise like you put some points alongside the circle and just try to see how how the elliptical shape behave on the outside. With this one being the widest. Again, it suggests to you how wide this cycle will be y there is no more to cut from here. One circle, once here consists of thousands of, thousands of small other circles. It depends on how, how many do you want to draw? Because this gives an on the only whilst they are like Millimeters, Millimeters of small, small spheres, circles over here. So why is it important to do this exercise? And what does it have for purpose for or a cartoony characters? Now. Now let me show you for an example of how this whole circle thing applied to how we draw cartoony characters on a new piece of paper. Let's start with just redrawing this. So go just to start clean. So it's it's not too cluttered. Just draw it roughly. Like I showed you before. And let's find approximately the middle of it. So if this is the middle, vertically, and this is the middle, and on the perpendicular axis. Like that, for example, just do it roughly. Because even though it's not precise. What I want you to do with this exercise, and all these exercises actually gets used to being unafraid. Let's say this is the middle point. And let's say we want, Let's imagine this is a beak had our character. And we want the character to look in this direction. So we want to have the eyes approximately over here. So two sets of eyes, a pair of ice. So what we do is like, it means that the head will be split. From this side. There will be a line going all the way here from this side. But if we if we cut the head, the circle in half and this will be, the IRS will be on the symmetrical side of the head. But because there is a perspective and changes of the head, if we have the iris over here in the character login this side and not straight ahead towards us, where the eyes will be completely around like that. They're exactly in the middle. We have them like that. So there will be exactly the same in size. You see there in front of us. But if the eyes are over here, then we'll have to draw, first. We'll have to draw the middle one, the middle line, which is going to be in perspective. And that's why we have a comes in handy here. The knowledge of that perspective of how this elliptical shapes of the circle changes in perspective when it goes farther away from the center. So if we have the invisible line going over here, it's going to, it's not going to be a perfect round circle, but it's going to be an elliptical shape. And the same thing is that if we want to do to have the eyes actually proportionate, we need to know that they, if they cross this line, we need to draw this perspective. If there is an invisible, invisible line going all the way here. That means that if we have one 19 globe being this size and this is also applying intellect, how will this guy be squashed? So we may be needed to throw another elliptical, sphere. Elliptical shape over here. Like that, justifying how this circle will transform each shape. Perspective and how big they are going to be. And the same one from this, for this one. So the I over here, we'll twist, will change its shape according to the elliptical shape going on this side. So it's going to look approximately like that. If we have this line over here, then the other way, I will be smaller in size to be able to look proportionate because the character is twisted, is turned this way. And the pupils will be also like that as if it's an invisible line also going on the side. And you see that we've got a shape looking like that. So it's not a complete sphere. But the farther away from the center we get, the more the ice will look squashed. Or more when the M elliptical shapes, there will not be completely around. And you see that here. And that is because we're following this, this forum where the circles are bending are changing in perspective over here. And that applies to do everything, basically everything you draw, we'll kind of will follow this principle. Thus why it comes very much in handy, handy to know this principle and draw as many lines as possible and just see where, how the eyes change shape. Let's do another one like for example, if the character is over here, it means that that line, and this side, let's use this one over here and see that the character is looking below, from below up and use this shape. It means that the eyes will be the center of this. I will be approximately here. If we have another, another sphere, another line going from here. And then we'll end somewhere here. And let's do the same thing with this i. So these are where or who have their highest point. And you can have another line over here just to see whether you have the lowest, lowest point. So approximately over here. And that will apply for the other eye, like a line that goes from here, from this one, ends up over here. And then we'll look approximately like doubt. You'll see that this time that you put this way. And if the character is looking up at us, like gut, you'll see immediately that this had, It's kind of either either tilting downwards or the character has, is in a very extending below the horizon. The horizon. And you see how different shapes are. But they look prospectively correct. Because if you don't apply this position and you have the eye symmetrical or around like that over here. You see that. And if you have the shape like that, You see that. Then looking all they want. Decorative that look more like something. Something is not right perspective in, as a perspective wise, the head looks more flat from front. It means that the character may be, is not completely sphere, but maybe has some kind of a square shape to it, like dots, then it looks more correct to have the eyes flat. This is a little different expressions. We're going to come back later on when we design our characters and y, we can also use flat ice and flat surfaces to design characters. But if we want to advance later on, which we are going to do in the lectures, it is important to know why we use this spherical shape and how this will apply to the perspective changes of four characters. And it will apply to every body part of the character that we designed because we're going to use just spheres to do that. And if you know this principle and you can use it as a guideline to help you find the perspective and to help you free your mind and design. Design. It can't just be without worrying that you're gonna make a mistake or that you control and so on. So I'm just going to continue with the next lecture. See you there. 4. Lesson 2 (Extra): How to draw cubes in perspective to draw cartoony legs: Hello there. I hope you are enjoying this lecture so far. And this is an additional video I'm going to do because I saw that I have put two similar lectures. And it wasn't meant to be so, but because I've done it for the students that are coming in, they will. This is going to be a new thing for you for my current students. I'm sorry about that. So I will give you a bonus lecture on perspective. And this is a little bit more advanced. I wasn't thinking of going into perspective because it may confuse you, but to start with, but I'm just going to give you a basic explanation of perspective. And this is a little exercise where I'm going to teach you how to find the base of the feet where your character is standing, and how to make circles using actually cubes. So what is perspective? Perspective is the line, the horizontal line does, is aligned exactly with our points of view. So if a person is standing over here and it's looking exactly in front view, the line where the eyes are completely straight, looking straight forward is going to be the horizontal line that will, that will define your perspective, how your object changing perspective. And there is also one vertical line where it's exactly where you are spending. That also defines how the object change in perspective from, from where you are looking at. So the perspective is not really an absolute value. It is a value based only on where you're standing. So if you are sitting down, your perspective will change. And if you're standing up, your perspective would send over if he were going higher up in a building or lower down or if you are laying on the ground, this would change all the time. But a rule of thumb is that the perspective is a line that is where your lines, where your eyes are looking in a relaxed state, straightforward, that is the line of your perspective. Who are the objects? For example, if you have a circle, this is completely flat. And the lower down you go, as I explained in a previous lecture, the circle will change depending on it that you're looking down on the object or you're looking a little bit up on the object. So here I'm going to show you if your character is standing somewhere here. How to use squares and two points, vanishing points to make a more precise forms for where the character is pending. So say for example, the character is standing here and going to design first cubed to see how this aligns with spherical forms. So we have usually 2 perspective. We have, we're looking at the object a little bit tilted. So it's not straightforward, is little bit tilted. So it means that it changes in perspective both this way and that way. And it has two vanishing point. Let's, for the sake of it, have a vanishing point here where all the points of the square aligns and end up in this point or here. And there is another vanishing point that all the points, for example, aligns and stands over here. This is not a set example. This is something that you can choose depending on how your object in spending. And this is a lecture that I can talk about a little bit in next lectures that I'm preparing because it's a, it's a vast subject. But just for the sake of it, for an exercise, I'll just give you this example. So let's design a cube. A cube, the vertical, the vertical lines of a cube is always Building 90 degrees with the horizontal line. So they're all on. If they're standing on the ground, there will be only Building 90 degrees approximately here with that horizontal line, 90 degrees. So all the lines are just straight. So we have one straight line here. And so for two points to vanishing point perspective, let's say dots or feeds or object is done big. So let's connect both points you are to vote, to vanish points. One here, you can, you can use to four dots. One year. If it's difficult for you. Now, this is it. And here is another vanishing points, just connect them. So here we have the perspective of the Orpheus cube. Now, where is, we're going to try to make a square. And now this is an approximate because it's gone. Take you some training and in the next lecture dot I'm preparing, I'm going to give you an example of how to draw from real life and to learn to see the forms and decides how big the, how, for example, design or perfect cube in perspective. But let's say that approximately here. Oh, perspective. So what we do is basically say that this is a vertical line, so 90 degrees with the horizontal line. It comes like over here. Now we have a Cuban perspective and let's find the cube similar align on this side. Because this vanishing point is a little closer than this one, which means that perspective in this side is stronger. So you see that it just changes much more as an angle y here. Then this one, the further away the vanishing points go, the more softer the perspective is. Is it means that we are, we are spending further away from the object so it changes. The vanishing point of perspective is like it disappears somewhere. We don't see it in the paper. So let's say we have this side of the cube over here, which is a little bit shorter. But because the perspective is stronger to make a real cube, which means that we have to short-term decide. So it's approximately here. So how we find the other sides of the cube? Well, just connect them with the sides over here. My dot. And from this point to the next vanishing point, just connect dots like that. And how do you find? Now we can draw the cube as if it's transparent. So we see the real form of the cube. Again, connect this 0.90 degrees with the horizontal line down. And what else could you do it, it just goes down. So you connect this point that the cube with the one vanishing line over here. And this point of the cube with the vanishing line over there approximately. And here behind you see that this line, this line and this line meet in 1, and this is the backside of the queue. Now how do you use that to make a circle? So if you saw me of that, your character is round. What is actually, how you actually find the shape of the cube is that you find is inside the circle. So if splits the skew, if you say that this is, split is cute in half. So this is approximately the half of the cube over here. Just draw a 90 degrees line to the next side over here. So this is a half. And because a perfect circle will be contained in one perfect Q is basically when you do a circle like dots, you can actually draw lines around it. And when you have a perfect circle, you also get a square. A perfect square. You see, this is also a way for you to later learn how to draw squares. Perfect square if you can find the form, just trying to, just striving for the circle, do though it out as I showed you and, and find the perfect square. So it's exactly in the middle. So if you draw a line from the center, here and here, this is end. If you don't have the circle, you can just connect these lines. And you can draw a circle like over here and over here, and over here. And this is also applies to how to find how this, how this circle changes in perspective. So find the middle lines of this cube. Let's connect this line to the vanishing 0.1 approximately here. And find the middle points over here and connect it to the vanishing point over here. 90 degrees connected with a 90 degrees angle down. So this is a perfectly align, symmetrical, and this is the vanishing point. This is the middle point for the lower part connected to the vanishing line over here and the vanishing line over there. And here you have this kind of splits, perfect split. So what you do is basically draw the circle. This is going to be tilted in perspective. So you have to approximately, you have to learn how to eyeball it here because this is also, is not the same line here as it is here. But it is very helpful. So this is one circle and this is the father of we go to the horizon, the more it's going to look as a threat line, as I told you before, the law down and go. The more we see the whole circle until we see a perfect sphere down here if you look straight down. So this is, this will define approximately how much, how much perspective changes you have your sphere. So here is approximately the other one, like dots. And so now you want to build a cylinder because you're. A legacy of your character can be like cylinder. So you just connect a straight line, 1990 degrees line over here, that connect one sphere with the other end, 90 degrees line over here. And now this is getting a little bit messy. So let me run it with the black pen. So and you see what I got. So so I will not draw the back side of this leg. I'll just draw the front sides because we will just see this part. Here you go. We have us, we have a cylinder. So for example, we can make nails over here. And this can become the leg of one novel or elephants. You just put a shadow over here and here you go. How to make the other leg there will be a right next to this one. So you just start by using my b, this line or even closer over here to draw another, another cube in and just go the same way by connecting the points there will be using the same vanishing points and design. And under Q. Again straight line over here, this will, this line mood be smaller because the further away you go, the smaller the cube gets in that site. This is another perspective to that. I'm not going to confuse the width. I'm just going to give you this knowledge, this tip, and just connect the next one again with the vanishing point over here. And you got this one here, this vanishing point. And you have the max Q. You find the middle line here and here, because you connect it to the vanishing point. And you can make be just continue this vanishing point from this leg over here and as well from here. So you kind of have another circle over here, like that, and another circle over here. So you just connect the ending, the tips of these two to circus like that. And here you get the other leg. Let me show you with a black pencil how you got that like that. And here is the other leg. And here you can build the body. You can, you can do the next legs, D, the side lengths from the same power or if your characters just two legs. You can just build up the body on top of doubt. And and just continue with your drawing. But I would suggest this is just a hint of how to find perspective. The characters that I'm drawing in all the lectures else up our approximately as if it's a separate file the day approximately if a person is like over here, this is the ice. So there will be standing in the vanishing point is, is almost on the horizon. So they will be farther away from us as if they're spending and, or height as if they are real, a real people and they're spending on oh, height. So there'll be the head like down. So the saw, the perspective will be very low almost all the time except for the characters that, that are looking up. Sometimes I'm just changing the perspective and looking at the characters from this angle so they are lower down and that's why they have a perspective that is much more extreme. Like gout and their legs are like dots. They're looking down. But you can see that for those that have just come into the course, you can see that later on for miles from my current students. I hope you enjoyed that. I'm sorry that I had this double lecture that wasn't supposed to be there, but now you got a bonus lecture on perspective. So I hope that has given you some more knowledge of how to build your characters. So continue with the rest of the lecture and learn how to draw cartoony characters. 5. Lesson 3: Different approaches to draw a cartoon elephant: So let's start with a real cartoon drawing. Why is it important to have a blue time? There is a mental thing in us that if we don't draw with black pencil, It's just temporary. Which is very good because then we can be free to draw the forms first. In now when you start drawing details, you kind of become afraid that you're going to make a mistake. But if you have a pencil, you feel like, oh, this is just temporary. You will be much more freer to approach the form, the basic shape to start with before you go into details. I know many people and even myself in the beginning I start drawing the eyes first. And then I just lost the form wide. I just started to draw from a year or or a hair or something and then I couldn't finish because I didn't know how to approach the rest of the body or the rest of the face. So it's good to have something that you feel for yourself. It's just temporary so you can make the basic shapes first. So after you've done the exercise with the circles, let's start, for example, drawing an elephant. There are so many ways to draw cartoony or elephants. And I'll show you from the simple form to more advanced form. And I will, I will draw a couple of, a couple of models, a couple of shapes. And then you can choose, you can see how easy it is actually when you know the principles, how easy it is to make your own design and to, to do that for you on bulk, or for your own TV show or for your own Short's, Short Film, short story, or even if you want to make a birthday card for present to something. So let's start with shapes, as we did in the previous section. Let's start drawing the body. Starts with drawing a round shape. And now this is the body. And let's make the head. The head is a little smaller. So this is basically the main shapes for our elephants, simple as that. Now do you remember what I told you about? The circles within the circle is like if you look the circuit from this side and perspective, for example. And we have a camera from here. It means that the circumference will be complete line. It will be straight line. But if we tilt it a little bit from the side, it's going to look like an ellipse shape. So that is the middle of our elephant. If we split the elephants, I mean, this sounds little cruel, but imagine that if you split it in half, it's going to be mirror. So the elephant will be the same on both sides. Because like two eyes, two legs and so on. So we just draw a middle circle on this shape. And this is the middle of our elephant. It doesn't make, if you make mistake, as you see, this is just a temporary pencil. You can always change the line. So Plate put some legs on it, the legs of a value fund. Let's simplify this in, and we don't have to be realistic elephant because we are drawing cartoony characters. The legs can look in a different ways. I'll show you a little bit other approaches, some other approaches later. But let's start with the simple form. Just draw Mohr's circles. These are two lengths. These are our two legs and the one is on the other side. We don't see it. Now let's draw the ears. Just make more circles on both sides of this line. Imagine that if this life in the middle and this one is the middle of this circle, approximately here is going to be the ears. Don't, don't be afraid. You put the years here and here. Does the good part with the cartoony characters. You can draw in any way you want. You can put the years here, it doesn't matter. I'll show you what an effect it gives you later. But let's just start with this form. And it has in the middle, it has its trunk. Let's draw the trunk. And the trunk. It looks like many, many, not too many, but some cycles that becomes smaller and smaller in the end. So look basically, we already can see an elephant in this shape of circus. Now, the eyes. Let's show, I'm showing you the simple way to draw eyes in. Of course, this is just to make small circles here. And this is already a very cute elephant. And a mouth say, here it can put the mouse on it. You can already see there is an elephant in it. One thing to do here, just to make you feel encouraged that you've done a good job. Take a black pen now and trace the form of the circle. And because you already see the elephant shape, you know that you don't need to draw the whole circle. We can form the ears from here. And this other ear, you can see these shapes that go within each other because it's get a blue pen. You feel like there. I mean, it's, it's fine if they are there enough. It even feels a little bit artsy. You've seen that in Disney and Pixar movies, their social sketches, there is also always a blue rough tensile underneath the sketches. You know, it's, it's fine. The more you draw, the more you'll get used to these shapes and the easier it will become for you to draw these shapes. So draw the trunk. The mouth. Here is a head. And body. Can draw the legs, stomach. So here is our elephant. Actually, it was pretty quickly, right? And when we have this basic shape, we can now details. We can add more lines in the trunk. For example, we can continue this. The circles. We can add nails, written out a tail. And voila, we have our cute little cartoony elephant. Now I'm going to show you other ways of how to draw elephant because you can create your own style and you can draw many elephants with, until you find which is your right style to do it, I'm going to give you some more simple tricks how to do, for example, one shape, elephants. What it is that make cartoons skewed. For example. Why we think things are somethings are cuter, something, some more evil. How to draw an evil character later on. But now I'm going to show you some more styles. You can draw elephant, some just going to do all kinds of different elephants styles. You can also make a NF-1 from just one whole circle. To simplify it. Just like one big circle. And we can choose that these elephants will have really, really short legs. Just make very, very tiny short legs. Because sometimes when something has, have a small body and very big legs, they'll be really pause for example, we think that's cute. But also if something is really big with tiny length, we find that also cubed this proportion of characters. Something with that we're not used to become more interesting characters. So just play around with this. And this is also something that you can break your way of thinking in how you design, how you approach characters. Just, just draw different shapes. He noticed explore the shapes because the characters become much more interesting and lets us make one very tiny low trunk. Look. And then here this tiny little ears. And this time we will make the eyes very, very tiny. So it looks like he has a very tiny phase. Place the eyes here. Mao here. Now I became a completely different kind of elephant from this one, but you can still recognize a character. Let's trace it with black again to see what kind of character we got here. Here is the trunk. With a smile. We can even add some kind of a wavy years now when we have the shape where the ears are going. Let's try to trace the trunk. The, I mean, the body. This is a huge, huge, funny elephants with very, very tiny. While they're not so very tiny, but still compared to his body. Very small legs. Look at that. And now we can add a tail, a very tiny tail. Now let's get at the details. Some nails. Now, isn't that funny? Any fund? Let's have him have eyebrows here. That's even more alive. You can just play with features with. But as soon as you have the main shape, now you can do everything with it. And now maybe you want to have that lucky graphic expression. Let's see what will look like with colored ears. Because as soon as you get your character right in Explorer, you can, you can draw it over and over again and you can color it in different ways. And you can see how it expresses itself. What kind of valve form and shape, what kind of character it is. Sometimes your story you create will drive your, your design. It's goofy character, if it's funny character if it's a sad little allophones or if it's a lazy elephant, they'll have different shapes. Look how different these two characters are from each other. But it's still recognize that this is an elephant. And, and you can have like artistic expression with both sides. So, so let me show you some more different designs. This time. Let's give it a proper head and make it more of a cartoony distance style. Just start with a circle again. Here is the head, and make the body much, much smaller. Now, why do we, why do we like characters with big heads? Well, because the reminder, most children, children has had this enormous disproportional big heads. And thus way they look cute. What else do they have? They have a very big cheeks and their mouth is a little bit lower in the face. They have big eyes and they have big foreheads. So let's make this elephant a more like a childlike. And let's make him big cheeks. So let's say here, we're going to draw the cheeks. And here are going to be the years. And the eyes is going to have like an n here is the middle of town for to draw the middle of the elephants. So we know that it's symmetrical. So this side is the same on this side. Let's draw that on the body as well. And let's have, let's draw the feet, the legs. Let's give them this size. So this is kinda like the shape of our new elephant. So. Let's make the eyes of big wide eyes like a, like a kid has one. Draw more cycles, more circles. I mean, you know, when animals have these big eyes and they're like closer together, they look even cuter. Even though if you might think they're more like a cross site. But like, like, like children's sometimes when they're looking at you and their pupils can look a little closer together and they'll look even cuter. And we have this it is trunk, a long trunk. Maybe. Let's make it shorter. So up to here. And a cute little mouth. And the mouth is very close to the eyes. And this time, instead of only dots like, like here, we will have y1 pupils and we'll have small chicks. So let's remember this four cycle circle. I mean, why? I don't know why I say cycle AutoSum, I get It's circle. And here we have the little mouth and email, the cheeks, bulging what a mouth is vanishing have small little chicks and everything is soft and round. And it looks like a small baby elephant. Get the black pencil. Let's trace it to see what we got. Form the features. In our assumptions. You've drawn it with a blue pen. You kind of see what, what you need to trace later on. And the more you practice without the moral say you don't really have to draw all the lines in here, on here. It just the thick lines will lead you to watch. You need to watch, you need to draw what you need to live out. Here are the cheeks, for example, we don't have to draw all these chicks even though we can even try that. I mean, there is no right and wrong. Because when you, when you get your own style, when you draw many, many times, many characters, you just realize that everything is very playful in everything falls into pieces. Eventually. All you have to do is just get rid of this fear that you can't draw or you have to draw the perfect line from the beginning. As you see here, this is basically not true. Make this big pig forehead like a little baby has. And if you do it wrong the first time, don't worry. You can draw the elephants so many other times. This time he has the peak legs. Like Keats or, or like puppies see now that have these very big pause. And I mean, how cute is that? And this is, it just happens like some eyebrows, maybe it becomes even cuter and more of a surprise look. And it's up to you here what kind of details you want to give him? Do you want to give them some small lines on the trunk so so it feels more like a volume or you want to leave it out. It doesn't matter where you want to like defined the inside of the ears here. So you give it a more of a curve here. So we have the inner side of the year. And you can have a little, a little tail here as well. You don't have to draw the nails over time. Do you want to give him a little little curly hair like a like a baby has to make it more of a baby like you just, you just do that. And you see we have three elephants, too weak or too many characters. They're completely different in personalities and styles. And we done them in a very short period of time, just drawing circles, just exploring the form of circles. And now I'm going to fill up this paper with different styles of elephants before we choose one of them and explore it some more. Do a little pulses with them, make them move, and so on. Draw them from difference, from different sites. So let me show you yet another elephant. This can be like a really big peak. Guy elephants. Let's draw a big all that upon what, what we do. Let's start from a circle. And he is, he, this is the body is big, big, wide. And it's going to be different from the baby elephants with a big head. He may be has just a small head, but still still a big heavy head. And in the older we get, we have different person or features change. There's different personalities in when we see someone, when we see, for example, on a big uncle, big Amore. Chunkier uncle. We have this fuzzy, nice feeling about him, you know, so let's give him this, this kind of Luke that he has y's y's eyes, a big trunk, wearing big trunk. Small tricks in only have this nice-looking guys with little small, puffy red cheeks and they're so nice to be around. And they have small little eyes. Sometimes they even have like small glasses. That gives them a special look. So let's make an elephant with the glasses. And they have these wide, wide funny smiles. Big faces. This is the mouth. And because we want to have the head look bigger, this time, we should we should make everything in proportion looks smaller. So let's make his ears smaller. That will make the head look bigger. Withdrawal SARC cycles. But now, but we know that this shape will look like that. We can even just draw, draw a shape like that. If you, after a while you just, you will not need to draw those under cycles, the circles, I mean, I don't know why I say cycles on time that's going to be and let's have him have this eyeglasses. It's on the ears just, just to make him more, more farm. And again, to make his body appear bigger. Let's make his feet smaller. But thicker. Here is grab the black pencil. And let's see what we've got here. Look how easy it is when you have this blue blue pencil underneath and these wines. Preliminary lines, how easy it is to find the shape instead of trying to deal with at once. And to be very precise, you know, it's, so the previous elephant that I started, this one with a little more character got a little blurry in the scene. So. And actually all the other shelves gone blurry. So I drew an angry elephant and a kind of a squarely font. But because I want to show you really how to draw that on screen. So you get ready picture here and I'm going to just in a new piece of paper, I'm going to show you how to do that. So you're going to get an extra and extra elephant video. So here we have how to make an angry elephant in, when you make an angry, angry character. It's what is important is to have more sharp, sharp lines in, even though a character is kind of cute. And we're going to start from, from circles, from round shapes. We need to add some more edgy kind of triangular shapes in it. And let's start with, with the head and have this kind of angry, a little bit mean elephant. We will have the shape of the body here. And let's find the middle, middle of the head. So we add some symmetry. And you'll find shape of the line where the eyes gonna be. You know, when you, when someone is saying green LD, kind of tilt their head down and look at us from beneath their deer and their eyebrows. So let's draw Current, same kind of way, the electric cute elephant. But this time I'm going to draw, I'm angry elephants. So, um, an, an angry, I often will have like very thick eyebrows perhaps. Like this. Angry Birds in under have very big thick eyebrows because it's very easy to make an angry characters. With big eyebrows. You just bring them together and, and here is the edgy kind of shape. Here. And let's have the trunk. We can have the trunk really small. And why is that? Is because we want to enhance the eyes more, you know, to happen this evil angry eyes and just have kind of like a year still like a, like a circle, but just half of a sphere as if the elephant is looking from beneath his eyebrows. Here he is very mean and angry. I'm going to get you. And we can even add some some end to save even on his, on his ears. And he's like have more edges to it just to add to the angry look. The mouth is tilted downwards. The corner of the mouth is also making this sharp edge. We can see the characters over already saving angry, and we are done this really quickly. We haven't, we haven't put too much effort in it. Think if you, what you can do if you put more effort into it and just find shapes of the of the legs on here. Let's go back to the black pencil and see what we got and make the eyebrows thick. Bring them closer together. We can even add a little bit, a little angry wrinkling here, not to make him even angrier. You see how this adds to the character at once and just gets more mean. The more expression you character has, the more that your audience will feel for them or with them. That applies even to the angry characters. Because angry characters are, again now, they also have the perception of right and wrong. And if you have you even you mean character, have feeling for what's right and what's wrong even though is wrong in or away. But they do believe that they are right. So maybe this kind of elephant it has, it has this attitude because maybe have had a tough life. Maybe he's lost his parents and we'll just had a tough life. So his Jane, this attitude to protect himself and knowing that having that in mind, you can add a little attitude to the character. Like for example, you can have add this new haircut, you know, like, like a punk haircut to add more attitude to your character, to know who he is. He, she wants to belong to, someone to group. And thus also add edginess to your character design. So let me talk about this. So let me talk about this square elephant. The thing is that you can also work with a lot of stylized expressions. You can like with the square of the fonts. You don't have to draw the cycle. You can do it in a more decorative way, like heaven, square for example, like that. And the thing is that when we use the principles with the cartoony eyes, whatever you put the eyes of your character, that's where your character is going to be. Now I put them over here on the other drawing. I had them over here. The thing is yes, you can make a double and a fund. That's also a funny idea. The thing is, if you put your eyes over a year now, this circles that I get here can become some kind of a feature here. But, you know, and even those, so let's just 44 variety kind of thing. Let's take this and have the eye of the elephant over here. Let's make the cartoony eyes and less made these large, this big long trunk. Why not? The thing when you said like, why not? Just play with their ideas, you know, play with it. You know, nothing is now with the digital age. You have a blank outline block of paper. Just do something with dinner. It's never it's never going to be the first-order lost. And thus the main thing about drawing that you have to be unafraid. You have to think that it's not just this one time. You can draw many other times if you don't succeed this time, there are many more drawing styles and some drawings you can do to reach where you want to do. And you know what thing you can make. This cartoony kind of, I feel like you have is our bags under his eyes that may seem more funny. And so, so here is already oral elephant that is different from the other alpha1 that I showed you. And he can have this tiny little legs and they don't need to follow the rules of perspective in a, because when you, when you have this more decorative kind of style, you can play with the shape, you can play with the form, and you can play with the perspective. So the legs can look like weirdly lined up next to each other and have this funny looking nails. And now we have. To just two circles next to it. What could it be? We can just leave it like that. And now we can have the ears. So we're here. And it's already an elephant, a square with knives, a trunk, and the legs. The thing is that when you add elements of an animal, if you like, simplify the girls who all we do here is stylizing an animal. We're not drawing a photorealistic animal because none of those characters actually look like a real elephant. What we do is we simplify what we know about how an elephant look like. And our mind is filling up the gaps. And because we've seen a cartoony character, cartoony elephants, we perceive that immediately as an elephant. Let's give him a funny little eyebrows here and a big smile. Let's decorate his trunk. So it feels more fleshy. At the same time, it gives us more graphic kind of look and a tail. And now we can have kind of like funny loci hair on the elephant. I mean, the L Funds do have hair, but it's very, very tiny, like we didn't add that kinda small hair here. But here we think because the form is so simple and it's so decorative in a way. So maybe this tick in only VC comes from. I'm an art form where the artists are trying to draw as children as simple as possible. And that became style. So no matter what you do, you can create your own style and draw your own characters, even if you don't do the characters completely. What I mean, completely correct, anatomically correct. It's quite the opposite. I mean, play with the form. So let's, let's color this. We'd like it just when you add the black outlines, it becomes more defined. Even if you can see the shape with the blue eye, with the blue lines, blue pen, pencil. You adding, adding the black outlines. Just adds to it. In this way how simple it is to actually design your own characters for your own book or TV show. And here we have those advanced and the cylinder next video, any vehicle. If you compare to the elephants, that idea here, you see that this elephant even have a different kind of style. Then this one over here. So here we have six different characters. All of them elephants drawing a completely different way, all with their own characteristic. And you could try on each one of these characters. But now I'm going to take this one character and show you how to draw. How to draw poses, how to bring your character to live. And how to use the simple principle of using round shapes, circles, and how with the help of that, you can move the character, you can create perspective. With it. You can have him running or jumping or just in different poses. It will have you care to feel more alive and it will give you an idea of who your character is, but also, it will be very helpful to you when you draw your illustrations. You book illustrations. And you want your character in different poses and not just in this 11 angle and one pulse. So let's go to the next lecture. See you there. 6. Lesson 4: Draw advanced cartoon character in different poses - Part 1, Happy Elephant: So let's get started. What if we want to have our little elephant standing on his, on his back legs looking up at something, maybe a butterfly. So we start with drawing the body. And we start with drawing the head. Just make a loss. Circles. You see how you can see how the shape is forming enough. After a while. You see, you see which circle you actually will follow if forms a pure, clean, clean circle. And let's have him look up. So find the line of perspective where his eyes and his cheeks are going to be over here. And we can find the middle section from where we will add symmetry to the character, which splits the two eyes, two ears and so on. And the middle line for the body. One of the legs. Here. The other one is a little bit tilted in our one, adding a symmetry to your character makes it feel more alive. So when you draw your characters, just try to make them a little bit more symmetric. So not everything in like in a straight line that makes them more alive. So let's break down this front leg and let's make them a little bit bent. So for that purpose, we can split the upper upper leg on two parts. The the upper leg part and the lower part of the front part. And then we're gonna make circles or the feet or the bottom, the bottom of the legs. They don't have feet. And let's have one leg straight up just to cap, catching something as if catching something, a butterfly or something will have this happy little elephant that looks like, like a kid. And let's have his trunk over here. Playful. And let's add his eyes. And now that he's looking up, his eyes will not be completely around, but there will be a little bit of an ellipse shape like squeezed shape, because the perspective may make them look more squashed. So to say. His mouth over here is wide open and we have his little tricks that make him so cute. And let's have his years. And the ears. The end of the years are right on the line that go and make some middle section of the head of where the eyes and the cheek MIT. So approximately here. And now the other ear is on the other side, so we don't see it's approximately around here. So we don't see where it starts, which is C, a part of it. And that's it. Or force little elephant. So now we forgot eyes. He's looking up here and the other eyes like a little bit behind the trunk. So we're going to bring the triangle. And what do you see here? Now let's have his teeth making loop, acute and bulging the cheek little bit with his mouth. As you see, I'm not using any eraser. Isn't that wonderful? The thing is that with the eraser, you kind of, you, you have a safety net in. As soon as you do something wrong, what do you think he always thin you doing something wrong, you start erasing it. An Indian, you whole picture becomes a mess, does first, and then you freaked out. You don't dare make mistakes. And the thing is that by doing mistake, by going there, by doing it roughly the first time, you're actually finding the shape. So you see here, I'm not using a cell amu, use erasers. Let's see what kind of funds we got here. We have slip track. And now you see it looking up. When he looks up SPSS, it mean that we see more of his chin and his upper part rather than his forehead, even though this elephant has a very big forehead. But as soon as we tilled or had up, you can even try it on yourself. You'll look in the mirror. Of course, you can't see yourself when you're looking at, but maybe someone take a picture of you and you'll see that even if you have a big chin to start with, you will not see your chin because this part of your face will be, will be hidden from where we are looking from. That's why he, this elephant now has a really big shape here. And she's cheap, even though he doesn't have a big chin. And then the ears are much lower because the change with the perspective as well. Let's connect those shapes. And we can have a little small wrinkle here where the knee bends. Just makes him looks cuter. In if you want, you can even add a little belly button in now because it's a cartoony character mean. And we know for sure. Well, we don't know that at least I don't know that that elephant has have belly buttons. Sorry about that. I have yeah. I haven't seen so many of them. Luckily because there will be x2. Anyway, let's get back to drawing. And here we can add small details to make our elephant even cheetah. Let's make the mouth even more, even happier. Just wider. He's a happy little elephant. And then we can add on top the little piece of hair that makes him look like a little baby. Also. Let's add some shadows on the floor. Very little just so to make sure he looks like he's spending and he's not flying. And also at, adds a little bit more depth to your drawing. If here is our first elephant in motion, the one that we chose with the cartoony eyes. So I'm going to show you some more poses. So let's make a pose. Another pose where the elephant is feeling. Little goofy, a little funny. Goofy is laying on the ground if she's bought in the year. So we start with his head and his head is going to be on the ground. And we start with and we finish with his body. And the body is going to be in a little of a diagonal. As you see that if this is the ground, his body is going to be. I mean, this is just part and this is his party. So here's a little bit like like that. And we'll draw his front feet that are stretched out on the ground like that. And he's back. Feet are in the way. Standing up like that. Here. He's from feet. Look, uh, his front legs look much, much bigger than they usually are, but we want to see some kind of legs, the legs sticking out. So for the sake of creativity, for the sake of art, you're allowed to cheat. I set it. So now let's find the middle of the elephant. Again. It's going to be here. And now we're going to do exactly the opposite as we did here, because we'll see the face a little bit from above. Which means that the line which can, which where the eyes and the chicks meat is going to be like over here. Because the elephant is like lying, lying on the floor. And so here we'll have his big eyes near the one here. And let's make his trunk so that the triangles a little bit up. And then it continues on the floor, on the ground. Laying on the ground. When he's playfully. Smiling. Here are his cheeks. He bulges his cheeks when he smiles. Making this, making this cute expression that we like so much. And again, you see the ears are the distance which is connecting. Where the ears end. Here, like you see from the line here. They are approximately over here, and the ear ends exactly on that line. So let's add them here. The easiest way to find when you draw your character from different poses to find how big something is compared to something else. It's exactly doing that. You always compare it to something else. Like for example here, how big is this year compared to his trunk or humpback compared to his eyes, or compared to his body. You just find different kind of reference points to compare. The thing is that you will not always do it, right? Sometimes you have to create some kind of off. You have to add more help lines to help you with that. But for the moment, this is not important, so I'm not going to go in into it. So let's have him looking like lazy way at us. He's like goofing around or little elephant with his eyebrows playfully looking at assets saying like, No, I'm so tired too now and just leave me alone. And you can have his little tail. Just saying that all my positives in there, I can't do this anymore. So let's go in and outline it with our black pencil and see what kind of character we get. You know, when you draw your character, sometimes you can enhance the features just for the sake of the expression you will get like here, for example, I've made his eyes extra large. And the thing is that even if you make a mistake, you can always draw your character again and again. As you see, I've drawn this character so quickly, just a couple of minutes. And if I've done something wrong out, just take another piece of paper. And draw it again. Meaning it's not the end of the world making mistakes. It's exactly the opposite. You had the mistakes you do. We'll go into make you a better artist. Now I've made the trunk here too big, so I'm shortening and before this low wine is finished. But again, and I'm telling you when you have this rough sketch underneath, you will guess. You will guess what you need to do next. The line will lead you, your mind will lead you what's next. So so you don't have to worry that you're going to do something wrong. We're gone and messed it up. And eventually, you know, it's not a crime to use an eraser. Just, just try to avoid it. Mc, what will happen with your creativity? Now let's have strong leg here stretching out. He's cute little thought in the air. And this is where the other leg is starting. And here is his baby little hair sticking out. And you can add some details on the trunk. And the thing is, you can also make a little shadow just to enhance the perspective. Just so your, your audience or your readers of your book, or your followers, wherever you draw this character for just the sea, they have a little more sense of depth that the character is actually Lang, Lang down that is not in the air. And there it is. Or next spouse. So let's do another pose. Let's have the character just being que tienen, like sitting on the floor, being cute. Baby like babies. They have their feet spread out, their legs, spread out, their arms on the floor in on this kind of q. False. To start with, again, drawing the head and drawing the body. It's going to be sitting down. So you want to make here the BOD kind of like More of a pear shape as if it's received the body sitting down in a four. Here again, the circles, the circles for the legs, but the back legs are stretched out on the floor. Here is one for the bottom of the leg, kind of like the the foot and his front legs like on the on the floor. And now let's have his head a little bit tilted on side. So let's have the middle line over here. So if you draw a circle, here, is going to look like that. So it's not really straight like in the, in the middle, but a little bit tilted. So as we said, like tilted heads like assymetry, it creates more life to the character. It gives more life to the character, more out ten TCT. We don't like straight lines amine. If you have a reason to make a straight line, I mean, if the caret is very steep fields, very strict. Sure. But to break it down and let's have the line of the shakes and the eyes and the trunk falling slightly on the side. One circle, two circles, tree. Or I think it's long enough. Let's do the eyes, one at each site, or this middle line. And let's do the chicks. The cheeks will be over here in our like and under the ice. And now let's do the mouth. It's going to be a happy little elephants bulging his cheeks with his mouth. And smiling era can see a little TV know like very simplistic. Just Simplify everything. It's going to make your life much better. In this little elephant is looking up at something, maybe another butterfly. You know, they like to look at butterflies. And again, we have the end of the ears. At the end of this line, approximately over here. We'll have one-year over here. One, another one down here, but we won't see again where this year is ending. So just imagine that if you make me or the whole circle is going to be approximately over here. But we want c dot. So we just have the ears sticking out. And that's it. Now. Now let's grab the black pipe. Tensile. Fancy what we've got. We've got the trunk. We've got the cute big eyes, round eyes. And you see, I'm doing all doubt just using, just using circles. So you see how simple it is. If you, if you thought that No, I can never do that. I have I missed a lot of people that told me that when I was a little girl, boy, I drew very well. But now can draw a stick figure. Well, can you draw a circle? Because if you can, then you can definitely draw your characters. Now, I'm making it sound very simple, but the most difficult part you will find is actually breaking out from your fear of doing a perfect circle. So you make the cute little cheeks kind of like bulging little trunk. Even add some details to it. And now we see that we, we don't draw behind the year in the whole sphere, but we just complete over here, where would the ear starts? Or we can only see the year because we don't see behind the ear. But the thing with drawing with just circles is just that you get to learn a lot of anatomy and a lot of perspective. This is very essential to drawing. You know how you, how you do that. Because perspective, you have to always know where your character is in the environment and you, you have to be able to twist their heads and twist the bodies and all that is just the perspective. But if you use this simple principles, the principle that I'm showing you here, you can do that so much more, so much more easily. Here, the front legs. Let's do the back legs. Oh, here. Use the body. Here we go. And now we can put on some details. Like he's nice. Eyebrows looking cute, defined his cheeks little better. And we can put this little hair of his, makes him so cute. And let's put some shadows beneath. And the thing is when you have this blue line, you know, it, it could suggest to you how you can even add some shadows on your character. Like here, for example, just to bring, to have more depth to them or hear. And here's just a cute little baby. Looking up. It was that simple. 7. Lesson 5: Draw poses of a cartoon elephant - Part 2 Sad Emotions: So let's do now even a sad, sad kind of pose. Because yeah, I mean, it's nice to draw happy, happy, cute characters, but sometimes we need to draw them. Had. So let's start again, as you know, from the head. And we're going to use the post of the already have. In a way, this kind of seeding polls because one character is, it's kinda like it's not only the face that we said is the whole body set. So it's important for us to, to have the potion of the character also feeling kind of like saddened and tired in a way. So if we see the character from the side, it will boats his, his back like that. It will sink into this spouse. So so let's make the body like, more like that. And the legs will be against stretched out. But this time we will try to make the pose not as happy as this one. So on the legs will make them like smaller. And it feels like the the, the shoulders are kind of like moved for too little bit. So even though we draw a circus again, we will have to feel as if the shoulders up come forward. So we will make the front legs a little shorter just to give an illusion that the character has been sunken in this drone down from the gravity less than and an almost sorry, I'm symptoms talking Swedish. So here it is. And again, let's tilt the head a little nut. Let's not make it straight like that, but tilted a little because at this time less to that downwards because again, when the character is sad, we want everything to feel heavy. The whole body posture feels heavy so, so it's not just the facial, it's not just the eyes. Just fine every opportunity when you draw the up pose to make the character feel more set so the character will look down instead. And let's draw the line where the cheeks and the ice will be, will meet. It's over here. So that's it. And we have the eyes now looking down instead. The opposite of this one. Again, you'll see that sometimes, I mean, I draw the eye or maybe a little smaller, but it doesn't matter because as soon as a, correct myself in now and start drawing more and more lines just to move this circle into the middle line into, make it bigger. It's going to work fine. And also the trunking this, in this case is heavy. It's just drag down from the sadness. And now even the chicks are pulled down. And the mouth is not happy, is just sulking and you know, extremely SIADH. And he's like, or just go ahead and feel sorry for me. And the years. Again. The ear ends at the end of this line. But also, let's have the ears also be sad and drag down. And these other year, you know, we can't see what the seer started. So we're just going to have this year sticking out. And now, not only does the body posture, posture feel sad, but we can we can tilt the eyelids, the eyelids, the upper eyelids down as if like having the sleepy kind of look. Tilt the other one. And character or little elephant is looking down, NO drone of sadness. And now we can also add some eyebrows. Also. Sad eyebrows tilted upwards and spread out separated. So if we make him feel sadder and sadder. And you see, before we even go with, with a black pen, we already have this character here. I forgot to make the middle of this body. But the thing is that when you get used to the characters, you will see that middle line, even though. You, you don't draw it. You will have a feeling for it. You will feel where it ends it. With your inner eye. You will see what to do. And even this little hair now is lot. It's not perked up anymore, but it's down. It's also sad. And it creates, it adds to the expression of sadness, salad or elephant. And now let's trace it with black line and see what we got. We have the eyes begin sad. And the trunk, the cheeks are loose now. Just enhance them with a plan. So, so we see, we see how sad it is. Maybe it's just simply not happy elephant, his little feet. And now we see just this part of, this part of the body. You see how it just tildes is dragged down the whole body posture is just drained. Just with so little few lines. You can do that. You can add character. You can add life. So your audience will feel more with the character. It's not only about drawing nice, it's also about adding motions. And now we add some details on the trunk. You don't start from the details. You add the details to save that you've created. But you always start with the shape and you see how easy it is. When when you know, when you secure in your shape, when you know the God, the guidelines, when you see the guidelines, the blue guidelines and you know what to do next. Instead of just like starting with small details and then it's like, well, how do I add the rest? And then you think, No, I'm not an artist. I suck. That is simply not true. So here we have four poses of or elephant. Let's add some shadow also underneath. And look at him. It's alive. Okay, so let's draw one more pose of an angry little elephant. And again, when we talk about drawing angry characters, or I mean, their characters, try to find where there are sharp angles in them, even though they're fluffy, cute. To try to make them more edgy or, or create some kind of edginess within the lines. Use more diagonals, we use the posing and to make them more sharper or stricter. So let's start drawing this angry little elephants who is kind of like screaming at us like you do not come closer than that. Something like that. If you would imagine having a dialogue and he would be like posing with his front feet, threatening us, saying, You do not come any closer. Sometimes and how I marked his feet here before even to his body. Because sometimes you won't be able to see clearly the pose. So usually use what's necessary. Just don't, don't make this a rule. This is just guidelines in or you can start also from a roughly drawing wider feats going to be and where the head is going to be in a different kind of way. I'm just showing you the simple guidelines. So I want to feed from feed stick out like. Dot and the backfield to be on the ground, balancing him on the ground. So he's kind of like this. He has this edginess to him as if he's selling it also slightly do not come any closer. And we're going to have a game the head tilted. This way. He's going to be looking. That just to create more diagonals like diagonals is also this wire like more unfriendly, unfriendly looking upwards. The trunk is here. Just make the trunk also a little bit more at JEA, just create some kind of tension, tension. And here is the line where the cheeks and the eyes meet. Let's get the eyes there. And again, you see when I tilt the head, the eyes and not any perfect round shape anymore, but they have kind of like more squashed kind of shape does because the change or the perspective. And you're going to get used to this now very easily when you draw a lot. And we have him looking angry at us. And here is time to add eyebrows, because eyebrows are important when you create an angry character. It makes, it gives the expression immediately. So not only the body posture, but with the Somme eyebrows. And here we have the chance to create some, some sharpness in the, in the form, in the shape. But also, let's have the mouth comments or help and make a mouth angry or end with sharp edges. Now, even the chicks are not so cute and rounded, but they're angry. Teeth. Showing tiff is a good way to show angry character. And you can even sharpen the ears a little bit, even though they are not part of this character. They're not typical for a feature of this character. You just do it for the spouse because everything will enhance your pose and will give more emotion for your character. And you see she's already angry. And even the tail to it, making a stand straight up. Find where the legs are known. Here is one. Nike has one leg, one leg, one leg. And now let's, let's trace it with a black pencil to see what we've got. We still have checks here, but they are like they are not happy cheeks anymore. The drug down of this angry little mouth. And these teeth are telling us, I'm so mad at you. I'm so mad at you. So don't even dare say that. I'm cute. You can even add this little wrinkle that I talked about before. Even though all character. Because if you have a curator designed and you don't, you haven't added thick eyebrows to it. You can just like intense thick eyebrows over here. Just because to make it stereo, you have to keep, you have to keep with the character design you've chosen. So, so this character doesn't have thick eyebrows. But even with the tin eyebrows, you can bring them down, you can squash them so, so the come closer to the eyes and you get this angry impression or expression. I mean, just maybe bring the mouth even more lower, making angrier and angrier. So I'm here. Why why we've still have the forehead still not that big because we had a big forehead here. The thing is that I've chosen to have, if, if we have a camera or if we were to look at this elephant, I've placed that a little bit lot below, little bit lower because in angles like that, like looking at the character from above, from below and up. Also given an impression of character being more powerful. And when a character is angry, if you want. Convey how powerful they are in their anger, anger, half how frightening impulse. Who does emotion is, even though the character is not frightening. Otherwise, just use these little tricks to actually have a draw him from little bit from below and have this perspective on them. So you convey even stronger, stronger feeling for your audience. Here we have some details to it. We add a little shadow. And here we can use even his little hair to add to this emotion, to this anchor of his. And he said, maybe here is like a little I little horn sticking out, threatening. Yeah, he's not that kind anymore. And you know, if you want later on, just adding shadows around the eyes In, make the illusion that the eyes are sent in. The deeper in the face. That gives the angry expression. If a even deeper look in no, it's just, you know, make the characters look almost evil, which is not, I mean, look at the difference. Look at our queue telephone here. You know, what do you say that she could do? Like doubt he could have a pose like that. But we're all like that. We have different emotions and we, as a character designer or if you want to draw your own characters, it's good to know. And to draw your character with different emotions, to know who they are, how they get angry, how they get happy or sad. And also, you know, when you draw for your book goes on pain, you don't want to have just one emotion. You just, you don't want to draw the character just like that all the time. You need to draw him in different situations. And thus why you need to know how to pose him, how to bring them to live, and how to give him more emotions. So this is a little short character sheet for the elephant. And you can, you can use that to practice to design your own character. Or you can try out different design. You can come up with your own ideas. I've shown you a couple. There are thousands of ways to do that, but this is very, very simple way. And again, try to avoid the razor to start with and see what difference does it make? Me? Believe me? It's not criminal. No one will you in jail for not using the eraser or for using it. You can use it. It's not a crime. Just play with it. Play with it. It's not your, it's not your hand that is drawing. It's your mind as low as soon as you free your mind to do this lines to do is free lines just to first use your hand like down, like really, really loose so you can draw freely so you don't go in and point-like, or I have a hero hair over here or over here or all know, I drew outside is slightly know like just draw outside the line, draw many lines, draw here, see what happens. So here's a comma free you to do all this kind of stuff. So thank you for this lecture and I'll see you in the next one. 8. Lesson 6: Draw different cat designs - a cartoon cat with defined features: So welcome back For today's lecture. And we're going to do one more character design. While the next one I'm going to do a couple of them. And this time I'm choosing to do cats because who doesn't like cat? While some don't, but there are cat persons in that person's whatever. I'm going to draw a cat because I want cats and they're pretty nice to draw because they are warming catalyst. And I hope you've done your exercise today with the circles that you draw for any money, money, so costs, as we did in the first lecture, I'm not going to repeat this lecture to go back and do the exercise. So you free your hand, you have your hand lose like that so you don't feel stiff and afraid when we start this exercise. So let's just do a couple of designs using the features that we know, our cat. And again, as we talked with elephant design, when when we do a character design that is going to be cute, we choose to make the head little bigger because it reminds us of children. And we think children are cute. And they have big heads compared to their bodies. And we'll make small body here of a cat. And now the cats, when the kid sits down, we're going to make a cat sitting down. It looks like if we simplify it, it looks like the cat has two bulges. One small boat for the body, and then it's one big about for the backside. So let's add them to design, something like that. And let's make, let's find the middle, the middle of the cat's head. Maybe. Around here. I mean, I always tilt my characters three quarters to select from this side because it gives it more volume. Instead of just doing it up front, front side, you can see more of the character. You can see the silhouette, you can see the front legs, the back legs. And it just gives more volume to the character. So it's good if you do that. And let's design a cat that will have big forehead and the same principle as the elephant. So we will leave a lot of space for the forehead. And a little less space for its face. Let's make the cat's paws first standing on the grounds. If, if we assume that this is where the cat is sitting with the Behind, put the small circles that are a little bit more squashed just before the, the backside on the cat. Because there's going to be some distance between the front pose and we're cat is sitting. So let's assume these are the front pulse of the cats. You see, I can draw cycle a little bigger because I thought that, well here maybe this post maybe a little bit too far away from the body, so I want to bring it a little closer in. It doesn't matter that it looks like that as you saw with the elephant. When you trace it with the black tens of later on, it just looks solid no matter how many lines you drew. And let's decide where the back legs or the sitting cat we're going to be. Maybe around here. Here is one leg. He know they have this bulging back legs when they sit down. That looks really cute. They look like some kind of a fluffy, fluffy balls. And the other one is going to be here. And let's decide where the middle, the middle of this character is going to be of the body around here. And this is a little tilted because the body of the cat, some kind of in a diagonal like that, like EVs, this is the buttocks and this is the front of the cat. It has like a little bit tilted diagonal look to it. So it kind of like we don't draw the line like that. But we draw it like that. It just gives more dynamic and more perspective to our character. And now let's design its features here. Maybe it's going to be the cat's ears. They're not exactly on top of this line, but a little bit on the side. If we say that this is one ear, we have to find a spot on the other side of the cat. The easiest ways to do that these may be is to draw also a similar line like that. One, squashed circle and ellipse, ellipse that is inside the cat to find where the other areas. And as we talked about it, the four, and in the lecture before, it, how you decide where the other part of the body will be is like comparing distances. So if you compare the distance from the center here to the end of this year over here. And you try to apply it on the other side. And because the cat is turned on one side. Decide, well, maybe it's going to be around here, maybe writes on the cat's head, or maybe a little bit behind. You can always adjust that so you draw the other circle over here. Now we have the cat's ears on each side of the cat, and we follow the perspective of this circle we have drawn. So we can place it on the right spot. And let's make the eyes and the scat big, but maybe not as big so that the head looks smaller. You know, everything everything relates to each other, to one another depending on the size of each part. So if we want the head to look big, we maybe should have to speak, but not like so big. So we can have this huge had. I mean, you can also try it both ways. You can make these giant, giant eyes. This is also another kind of design, but I'm gonna go with this normal, with this Disney kind of look. Where there's some that the proportion of the head is really big. And now let's make some cheeks here as well. But the cats chicks should not be like the elephant six in our day should be near the now, see now the cat has this little mouth here, where the mouth is. So let's say that here is going to be the mouth, and on top is going to be the cat's nose. And now this circle, this circle has its own proportions. Own, own middle ground is kind of similar to this one, but it just because it bulges a little bit, it's going to go around here, just some millimeters away from the central middle, middle line. And where the circle ends, we're going to have the cat's mouth. That It's tiny little cute mouth. And here we have it. And let's have the cats. Pupils. You know, as we talked about when you bring us closer together a little bit, it looks like a little bit crossed eye, but they look really cute. And eventually they don't look cross-eyed. If you look in all Disney Pixar films, they design the characters in that way. M Here we have it. Or cat. Now here we have the front pulse. Let's connect them with with other circles to the body. We can have one here and one over here, and our tip. And let's design, Let's put on the tail. The tail could be a sum of number of cycles of circles together. Like that. That's it. That's it. That's our ground. We have that. And next let's take the plaque pencil and see what kind of character we got here. You'll see to start with, you don't need to trace it completely, right? You can still add a couple of lines. And so here is the little nose. Again, I'm doing this. I a little bit smaller this eye because it's in perspective. So if I draw a line like that, even for the eyes over here, that is kinda symmetrical with this one is a parallel to this one. I mean, so this I will go lower than this one. That's why it is important to do your exercises with her with this lines and circles because you have a better feeling of where to put what and how the shapes are relating to each other. This going to be a gut feeling the more hydro. So you don't have to wonder, but it doesn't come right away. You have to draw and draw. Now, the ears here, because we, we drew with circles around. And this little cat looks a little bit more like, like a payer. So to make it more cat-like, we'll try and do the ears as we know now, where do you sit? We will have them more pointy. So we follow the circles, but instead of rounding it, we end up in pointee ending and we connect it with the other one. And here we even can have this little, this little detail on the cat or the ear goes inside little bit. So let's do that for the other year. And we don't rounded, we just make it a little bit pointier and connected. And because this year looks on the other side, we don't need to make the point in this here. The other detail. And here we've got the head. Now let's see what we got for the party. Here is the upper body. And we want to see that it is, the body's getting smaller over here. So let's just add a little bit of dots here behind the cat's head. And let's draw this upper out to outer outlines of the cat. And even here, we see where the leg ends here when the cat is sitting like that. And let's draw the front legs. Just connect those legs here. And the front pulse. We don't need to draw the whole circle here. We just need to round it and connect it to the other shape that we drew. Making a big poles because they look like they look cute. And we make some details, some tall toes here and some tos over here. And let's define this shape here where that chant is sitting. And we have one little paws sticking from underneath with some tools on it. Now. Now this shape is a little bit, maybe too much, so maybe I won't need to have it. So I would just connect the second dish safe. And here is a good place to use an eraser to take this away. But I am going to show you, I want to show you how to draw with the mistakes. That's why I'm not going to raise it. So you enhance the shadows here just to make sure that this is the safe you're looking for. And here is the tail of the cat. And you can even use this endings of this circle here to make the cat, the cat's tail, a little bit more graphical. And these stripes to it. And here we go. We have our little cat and we can add details to it also, we can add some place whether the mustache that are coming out. We can add some whiskers. I mean, not with not most dashpot whiskers. Here, I'm guessing even cuter. And let's add some eyebrows to her or him. And here we go with our first chat design. 9. Lesson 7: Draw a stylized cat: So let's do another design, a more simplified one. So let's, let's see. A cat is actually looks like, like a parable. So we just have one big circle and have it a little bit more stretched. So, so, so it's not just completely round, but we leave some kind of interpretation for the head and the body. And that's it. And what is funny is that we can make them, we can enhance the feeling of being, be careful by giving the cat very, very tiny, tiny, tiny, tiny legs. Look at that. They're almost invisible and just have the pose. The pulse very, very small. Just exaggerate the shape. By only how to exaggerate the shapes. The two things that happen, the characters become really funny. But also you free yourself to think outside the box to see and create shapes that are unconventional and unusual. And let's have the back, the back legs. Oxo also being very, very small and not anatomically correct at all, don't follow any rules of perspective or anatomy. And in fact, they don't even look like a cat. With this kind of self, which is take this the symbols that the cat represents and we build a cat-like character out of it. Like we know that the cat is big and fluffy. It has legs, it has eyes, it has ears and whiskers. And it has a big fluffy tail. So let's have the big fluffy tail. But I will make it smaller than the body because I want the body to look disproportionately big. So I'm just going to round the tail like that and connect it and just make it really, really fluffy. And I will have this giant big ice in the middle of the cat. Very close together. And this time let's play with the shape and actually have the mouth of the character over here. And let's see what character we get 10. So the nouns of the cat is over here, but it stretches all the way down, down, down here. And we get this big, annoyed, fluffy cat that is actually extremely funny. And the cat has ears. Let us make tiny little ears of a year, just small triangles. And one small triangle over here. And that's it. Now let's, let's go with the black pencil and see what we got. We've got these ears sticking out and this one over here, rounding the eyes. And again, having a little bit crossed eye because they'll look really funny. I don't know what it is and how come they actually don't look cross-eyed. They look like they're looking straight towards us. This is some kind of an illusion that we've got or tester or away the way that we got used to seeing the characters from all the animated films we've seen as kids. It just doesn't look cross-eyed to us. It just looks normal and in a way, and that's how the character should look like. And we have tiny little Paul's over here, over here. And we have this tail. And let's have the cat has whiskers all the way down to the mouth. And some funny little whiskers. And ta-da. We've got a completely different cat character. And that is completely different from that, but it still looks like a cat. Very graphic girl, very funny. So now let's go for another character, a very simple one. And this time I'm just going to use just going to make the eye like small adults and have it, have the shape completely different. Let's start from a big round circle. But this time, let's have the head sticking out. And again, do a very tiny, tiny feet. And tiny feet sticking out from here. N1 straight, short tail. So this time let's make the cat look more like a flat drawing. Like there's no volume to it. More decorative as we did with one of the elephant characters. So we'll just have the cat's head like dot. Draw some pointy ears here and here. Draw some head over here. The body and just the body like that. And in this one, we're going to simplify even the eyes. Just doing two dots for the eyes. One nose. And that's it. And you can have a simple cat, cat desires like that, for example, for making prints on cups or making presence and doing like for the colored like prints on clouds. It's very decorative style, but you can also have that as a design for your book, one animated. So what I want to show you with all these designs, these dots, there are so many ways to design a character's. It's not just one way. And saying that you can't draw or the Sendai, it's simply not true. It's just that you think, because you've watched an animated films, you'd think that there's only one way to do that. And it's very, very hot. It's actually not because there are many different ways. So here are the poles. You have this little pore here. Let's make the back leg even sticking in here and the funny little tail. And because this cat is so simple, let's make the whiskers maybe a little rounded. You can play with the shapes and expression up cat. Now this looks really funny. So you can add different graphic elements to it. Like, let's make it striped cats. And these stripes is just make the character or more decorative and more simplistic given and how we strike tail. In here. You don't, you don't need to follow the rules of perspective. As you see, you can make the lines straight even, even though you know that they're actually rounded. But that doesn't matter because this is how your design is. And when you make one design, when you, when you decide how you design will look like, you have to stick to it. So it's very easy that when you start designing one character and the more you draw, it's just are getting better and better. And then you try to make more of it like you try to make it more and more, to give it more volume, but make it more realistic. And then you break your rules of your own character. You own the design. So when you make the character so simplistic, you should try to stick to it, which is actually very, very hard because the battery you get in your drawing skills, the more evolved your character will be and the more perspective and volume EEOC in your designing your character and having a flat, It's really just, I mean, that's just a skill in itself. So, so here are three different chats that we've designed. They have basically nothing in common, but they're all pretty cute. And they all look like cats. 10. Lesson 8: Draw cartoon cat with more human-like features: So let's go for another approach here. And I'm going to make humanoid cat, cat dots dance on the two feet, maybe the half and closed zone. You know, like in Shrek, the Kaplan Shrek is not going to be the same cat, but just more with a humanoid features. Again, let's start with the hair. And now the body is not going to look like a cat body, but more like a human body. So let's have it more stretched human body. And let's have the cat may be having one hand on the hip, so the body will lean on this side. If these are the hips, Let's have one bowl for the hips, one bowl for the torso. The upper part of the body. And 1, 1, our upper arm here, lower arm here. Another poll for the hand. And let's have the other hand here. Just arresting. And 11 foot, one leg over here. Here is the knee. One leg over here. The foot. The other leg just stretched with the foot. Let's have him have really small, small legs and be a little bit more proportionate like that with one big, big hat. Again, that's with a 2D characters mean, the more you exaggerate the features, the cartoony did they get? And also the easier, easier to draw and to get appeal on. So the thing with the human character is that, you know, because we know how humans look like. It's as soon the closer they are to the real human, the more mistakes we notice in the character. So if you tried to DOE photo realistic human ino, if something is wrong, your brain, you'll notice it immediately. While if you exaggerate the feature, the features of something, even a human body, it will look more naturalistic. It is a little bit ironic that it is. So, but that's how our brain works. We know how humans look like because we see them every day. And But we don't see cartoony cats every day. So we accept the reality that the artists give us as, as given us as true. So no matter what, no matter which one of these characters you see, you don't notice anything wrong with that because you haven't seen you haven't seen a creature like that in real life. It, there is no reference point to those characters. That's why you accept them as real, as more true than you would you would do if, if I drew a real human and they had features that are not according to what's you know, of humans. So let's tilt the head a little bit and have VK, VK years of this cat approximately over here. Let's have him have this deep ice now. Just design one completely different character than this one. It's a little bit brave little female cat. Let's make it a female cat. And this time, let's give her this cheeks, a bigger nose, cheeks, Smiley mouth. You see how I'm changing the features while out. Why? While I draw? Because I mean, I've never drawn this character. What I'm doing here, I'm doing it in front of the camera, right? Writing from the view. I didn't practice to draw these characters because I wanted to show you how quickly it is and how different approaches you can take to making your own characters. And how in that process you will make mistakes. You will, you will try out and, and to make it better, you have to draw it another time and another time like, like I did with the elephant and like I'm going to do with one of these designs later on, when one posing it in different, in different positions with different moods and different expressions. So let's have the character looking at us. And let's give it some here. And that's it. Oh no, I forgot the tail. Let's have the tail here behind. So 123456 balls. Okay, let's go with a black pencil and see what character we got here. Code is C and how does she look like? So looking nice or now we've got this null Solver here, which is much bigger than this one. We have these sheiks. Let's have pupils in her eyes. So she looks more humanoid. And we leave a little, a little white to know the live. The eyes become much more alive when we give us some more specular in the eyes. So let's have a half sum t over here. Just like on the iPhone bulging the chicks with her with the corners of her mouth. But let's separate the whole area of the cheeks like that. So if you want to color it, this r is going to be one color, but this is going to be white. For example. Just involve all the area in the end. Now have the ears more pointy because it's a cat. It's not a bear. And we would see a little bit from this year because she's turned more towards us. And we will have her little care over here. We add some elements to add some hair lines to make sure that it's not a fire or it's not anything else, but it's just a piece of of hair. And now let's make her body stomach. Now let's have her where where something. So with aware a short skirt. Here, the arms, let's round up the arms. And here this line of, this sphere, of this circle comes handy for to form the lower arm. And this one forms the pulse. Here we will add small Paul. Here we have the Cat already standing. Let's add some, some cleavage, that small cleavage on her, a little dress. And you see how the center of the body of this cat is. So you can add, you know, where the dress is and you know that the body is tilted this way because she's leaning with one pole over here. And you can have the dress a little bit sticking out from the body. You see what the legs so you don't have to guess later on where the legs are. You just draw on top of the blue line. And you draw some some pulse. Here. Of course standing. And the other leg leaning. And the other leg leaning like that. On one side. Here we don't see all the pulse up front. You know, it's useful too. You draw even the cats and you want to have it more humanoid like. It's very useful to actually find references of how people are standing. Or even you can take a picture of yourself and just stand in this position and see how your body is. Is tending to know where the hips, where the arms. And we have one arm over here. We'll have one pole looking more like a I like a TM, even though we know that the cats don't have TM. And when you have a more complex character in like different from this one, it will take more drawing, it unusual to find the balance, to find, to find the volume. So just don't be afraid. Don't be afraid to draw my more drawings. 11 thing that comes because it's, it takes so much energy out of you to draw one character is not, not because of the drawing itself, but just because you want it to be perfect while you don't want to fail the dot character. And a Sunni as you've drawn it once. And you don't like it. You feel like you feel like you're not good enough and you feel like you have to quit because, well, now you've done it, you've seen it, you've seen that it doesn't look good and you give up. And actually it's not that simple because the more you draw, the more mistakes you make, the better you will get, you cannot give up. And there is no artists in the world that have learned to draw from just one drawing. And you know that I mean, whatever whatever you are that you do out there, whatever profession you have. Hi there. If you're a you're a lawyer or if you're in the game industry, if you're if you're a baker or whatever you do, or even if he know if you make something at how if you cook at home, you know, you, you haven't learned to cook from the first recipe you've got. You've tried many, many times and you felt right. So why would you think it's different, any different than the drawing? It's just the same process no matter what you do. So just don't give up. I've drawn many years and I still don't get it right. I still consider myself a student. And thus what we are, I mean, no matter how good you are in, you will always be a student and thus just good if you have this attitude, it means that you can always be better. Because you will realize that the better you get, the more you realize how much you have to 1. And now let's have this little bulges from the cat over here. And let's give her some whiskers. So our little lady over here. And what you can add here might be some elements to it. You can have her dress, have some, some sphere, some cycles, some circles, and color it. So you have some more graphic elements. The more graphic elements you add to your character. And it will look more completed. We'll look more alive. And let's have some saddles to enhance the perspective. And to have her look like she's standing on the ground. And there she is. Or fourth cat, as you see, quite different than the others. Well, let's give her some eyebrows as well. It will make her expression even better. And you know how in all the girly girls that have this kind of eyelashes, enhanced, eyelashes still look cute and sells on. Let's give her some human-like lashes to make her cuter. And there you have it in or something that a character you can draw even on the wall for you in your children's room or in your notebook or you something that you can just do though if you have some downtime, meaning if you pour it in your notebook and so on, you can do this kind of characters and see what you get. Because it's surprising amount because you see, I didn't know that I will draw exactly this character I just had in mind was the direction I wanted to go. And that's what we got. So surprise yourself. 11. Lesson 9: Draw cartoon cat with evil look: So now let's do a tough, angry cat, kinda mean little TAT. So let's start with the head again. And the thing is that if we want the cat, the character to rule, to look really mean, we should actually do with more proportional. So because the big head gives cuteness to character. So we can have the head not as big as the other cats. And remember what we talked about with the elephants in episodes with the elephant, that when you do a mean character, you should strive to add more edge witnessed edginess to it, to find more lines that are more sharp, triangular, more pointy. And all this kind of features give a more, a more hard looking looking character, more mean looking character. So let's have the character again stand on its own two feet and that's having dressed. So we didn't have his body's been more slimmer because it will also add a little more edginess to it. So let's have the his body only here. And let's repeat the spouse that I already did. But this time with the intention of giving character more mean look. And let's make him avoid this time. So here we'll have one leg over here. He can have longer legs because that gives a more mature look. In a week. We associate toughness and, and something evilness with more grown up characters in or we don't necessarily associate children, children's features to meaningless. So let's have him look more like a grown-up. And here is the other arm over here. So basically the same kind of features. But Striving to get more serious kind of cat. And we add some years over here and now find the middle, the middle line here. So now to have a more minor character, Let's have she's his eyes most quintet. So she will look down, you'll look down here, look up towards us from a more tilted kind of head. He's, his tail will be more curved. So if we add like more of a half circle like that, the half circle of that should be his tail. This is kinda the, another way to use gap and his tail can be like slimmer. More coming, coming next to it. Like that. And here we can add more sharper eyebrows. So is it like tilted eyebrows, squinted eyebrows given meaning? More mean features, angry features to the character. So tilt the eyebrows inwards and have the eyes. Half spheres. Like the rest of the eye is hidden, is like sunken in, inside the head. And we give more sharp, sharp feature to the nose, small triangle, triangular. The eyes are big. Mean ice. He's looking at us with angry look. And here, Let's bring his lips a little bit forward. Like when someone is something biting key slips. It gives him more angry feature and hears or grounds get. Now let's see what we can add to the sharpness of this cat. Instead of making him around here. Let's just have an edge to his head. Like dot. Longer and sharper years. Pointing outward, meaning that threatening towards us as if like small kind of sharp objects pointing and dust threatening us. All these things, all these elements there. They work in our subconscious. We, we wouldn't notice them right away. If you to see this character, we wouldn't know what the designer has done to make the character look like does to us. But these are different features that you think about when you design your characters and thus why I want to bring them here. Now, these are features that you choose to do. You choose to find the new character to enhance the look. And let's have his arm slimmer. And let's give him some clothes. Maybe. A big belt. A belt is kind of associated to toughness in when you see it in the character. It's a grown-up symbol. Children, children don't have belts in, even if it's bigger associated with the workers that when genes, single genes is kind of like you tough, feel cool. You mean serious business. Smaller pulse here. Just make everything's Kenya. And let's give him some shirt. Just half of it is kind of shirt. Talking about genes. Let's create the illusion that he has James. So it kind of so when the genes that usually has these bulges here from the sitting down, the, the, the cloth bulges when we sit down. So it's easier to get the illusion of thick genes material if we do this small addition, addition store a character. And for the feet, Let's have him have boots. Simple boots. But big foods. Also a symbol, a symbol that we've used to see with them. After the Western fantasy. Now, it's the associations that we built. Watching things, you know, observing reality. This association has made up his made-up, creating this symbolic, symbolic language of what is watts, what plays a more conscious as staff? What is cute? So in the Western films they show first the booths in under a close up of the boots and then the camera pans slowly up to reveal a really tough, sunburned guy. So adding that to your character will, will give similar impression of a character being tough. So you see that as soon as we create a morgue, photorealistic, grown-up Luke 2 or character. He looks tougher, even though we had the same approach to this character as we had to run the cute one. Simple features and a tail. Now we have already or character almost ready. And without the black pencil and we can see the difference. But just let's define what we've got, what features we've created. Eyebrows, the sharp nulls, the mouth is pointing downwards. The lips are sulking. The face is sharper edge here. The forms are not so smooth. Feels like if we can see is skeleton underneath. The ears are pointier and sharper. The lines are not as curved, rather straight lines. His body is smaller. E has a belt, a big, a big belt. He's arms up thinner. Just the moreover features of a grownup person. Of course, if you, if you make an animated film or you have a story of a book, maybe your, your cat figure is, is a baby, an Evil Baby, for example. So you still can draw an Evil Baby character or childlike character. But just a think about it when you create it, that note to add some edginess to it. And what makes what we'll show this characteristic civil. Even if the readers have not read your book yet. Will they guessed that this is a minor character? That will be surprised that accused character will react in such a mean kind of way. Usually, when working for children, when you make children's books or children cartoons, children won't to have defined characters. They don't want to get surprises that a good character suddenly becomes really mean. So think about it. When you design for children, especially for small children. They want to, they want to cheer when the bad character, the evil magician or the evil cat in this, in this sense, and get what they deserve if they lose the battle and so on. And they want to, they feel for a character that his is unfairly treated. Solve for that matter. It is good to have stereotypical characters. Even though in life, even in film, we do not like stereotypical characters and stereotypical people. It kind of, it's kind of boring and they usually don't, don't exist. I mean, everyone is a sum of many quantities. We know. Generalize, we use features of your, of our own moods and Mozi. Characteristics like well how will look like when we are angry to place these features as a constant features for or character designs. So that's what I'm doing here to show you how we can enhance that. And we have his whiskers out a more sharp discursive pointing downwards. Not happy. And here it is. You can have his genes with another color. Just to make sure we understand that these are two pieces of clothing. And we have some shadow on the ground to make sure that it gives an extra volume. And wallah, we have, or very mad at him, angry cat. So here we have five different designs of cat. And you'll see how easy it is to create them. I mean, of course these characters a little bit more advanced and you will have to draw a couple of times to reach this level. But I just wanna give you an option to see how you can practice to approach different designs and what's comfortable for you. You can start with such a simplistic characters, for example, and started building even more complex characters like that, more human-like characters. But for the sake of it, because we did some kind of a decent life character for the elephant. I am going to bring this character to wife over here and, and put him in different emotions and different emotions too in and have him posed in different, in different situations, different from different angles. So you can see that even a very stylized character like that can actually have a volume. It can be turned around, it can leak and have it from different angles. So if you decide to make a children's book based on McCarter like that or like that, you will know what to do. So I'll see you in the next lecture. 12. Lesson 10: How to bring to life even a very simplistic character: So now I'm going to show you how you can bring to live one very simplistic Character. And we'll take the cat that we designed, which is the one that was very fat and big with very, very tiny feet. And even though it looks more decorative, feed doesn't follow the principles of anatomy or perspective. Now, there is still perspective in it and you can still have it in different poses and have some somehow add some fillings to it. Now, let's have this cat still sitting down because we had it standing on its own. It's two feet. So if it's like big. And Katelyn, we had the cat having only one big giant bowl as a body. And Let's say that here is where the ground is and the catalyst sitting over here. And let's have the middle line of the cat going here. That means that the cat back, back, Paul's back, legs are approximately over here. And you remember there were very, very tiny. And the thing with such design is that it can play a lot with the form and you can actually cheat a lot when you have this kind of simplistic characters. So for the characters to stand a to six, because his front legs were really, really small. You can have the front legs like being over here. And you can have amoeba little longer, like dot. And even though the middle line is over here, it doesn't need to follow such a strict rule like the other cats. And let's have the eyes. Being here, at least very, very high up. And we have the pupils. And we have the noun house, and we have these very long. And, and gray a little bit. It's not anger is just soaking. Mouth fee now one, your cat is soaking Because you're late with the fruit. And we have the whiskers, dots. Me have some whiskers. And we have the tiny ears over here. And The tail on the ground. Now let's connect. Let's connect the dots and see what this funny cat looks like. And we can see only the pulse for the back legs. And you don't even need to define where the poles are sitting because it's so simple this design that it allows us to skip those details and those anatomic. And that's only features of a cat. We have the ice and we have the mouth here, and the whiskers, and the tail on the ground. Here we have 0 first pose. More simplistic, stylized cat in no time. So now let's have another pose with a cat. So the cat will be stretched like this stretch with the front feet and really wide. So let's have the egg shape kind of thing. So we have the hold is blood stretching out with he's bought in the ear. And let's have his front legs really stretched. Much bigger than they actually are. Maybe the body even more, even more rounder, fatter. So. And the back house, the back legs kinda of like leaning in diagonal. And we have the tail. Just build some, built some circles to have the tail. And that's it. And now we'll have the ice over here. This is kind of like the middle of this egg-shaped cats, except posts. So we'll just say, so. Let's have one on each side of it. And we will have the novice over here. But this time the mouth will be open. So let's have this be open mouth. Yawning like that. And have the cats, the cats eyes closed. So we see more. The lower the lower lid. Of course you can have him up the upper lids close like that. I mean, there is no right and wrong is just how you want to have the expression of your cat. And here is the mouth is little bit twisted on a site. And I chose to do that because I do love when things that are in asymmetric 0. So we have the whiskers over here. And let's have the more defined legs this time because when the calf stretches, it's a very characteristic day-to-day poles there. The pause in a certain way. So it's nice to have that to show that feature. And to have the pulse, to have even than the thoughts of the cat visible this time, even though we didn't have them over here. And here we don't see the cat's eyes. Me have the ears of a year. And that's it. So let's go with the black pencil. And when you get more and more secure in your drawing, you can exchange the black pencil with a pen, with a black pen. And luck ink pen, for example. You can even color your drawings where it's watercolor. You can, you use squash or even you can, you can give a book of such kind of characters to you children. Or to your your friends children, someone has a birthday press and you know, they love to color things like that. I know that when I visit friends and cousins and family, the kids always asked me, can you draw me cap, can you draw me a bunny so I can color it? And it's just, even if you're not in arts, you will find that a really enjoyable to learn to draw characters like that and, and give it as a present to your family. I mean, even if you have that just as a hobby for you, hu, a hu is both this lecture and who is watching, who is, who wants to learn how to draw these cartoony characters? How to advance in the drawing. I'm glad that you can, you can get something out of it and you can start drawing your own, your own designs. And because it's really, really enjoyable when you start to get a handle of it. And here, because we don't want to give a suggestion that the cat's eyes are open and that it doesn't have a pupils. You can even color the eyes, the closed eyes, with a darker color. So we see that the cat is actually, has actually closed eyes and add some shadows. Let's have the mouth a little bigger, like dot. Yao Ming's stretching. A little lazy cat. What a cat touches the ground. We can add some shadow so we have a more volume metrics, send sounds to it. And let's add some whiskers here. So let's go for another pose and have or fascicle character sleeping. And he know everyone has a different way of sleeping in even that can occur, can give our character a characteristic about who this character is. So let's have him in a kind of a lazy sleeping pulse. We also want it to be funny. So if this is the ground, this is our blob little cat. And what can be funny, it just got to have his face over here, so so we see his face. So let's have the middle, the middle line of our character over here. It's like if we, if we can see through, it's going to go all the way like dots and it'll be squashed. Circle. And here are the character's eyes. And here will be snoring. So we'll go ahead and draw him in the snoring pulse. Let's have the knobs here and the loan, the long face. And he's snoring over here. Now he's up on leads are more visible, so we have the lower lids closed. And this character will be sleep with his feet on the ground. Let's make him sleep with his legs up in the cats. Sleep sometime in them. Very funny position. So let's make his toes is upper legs, back legs. I mean, just stretched up in the air in a very funny manner. M his pose. Just stretched on the side. You know how you, how you want to decide where the body parts are. Of course, you've got to get used to that as the more you draw again, as I mentioned that before. But if you draw a straight line from 1 to another in dive in a way, and you see that this is your characters middle wine. So it's more in diagonal like that. It means that the floor is over here and end the line from here to here. And thus where the fluid touches the cat touches the floor again over here, it means that if you draw another line over here, the four will come and be over here. So you know that if you draw a diagonal line like that from the cat, you'll find the position of the other, the other leg. But this character is decorative so it's allow, it allows a lot of so-called mistakes. In your drawing. You can, you can place that's even, even here. You know, it's it doesn't really matter. And now let's add some ears. And the tail stretched from here. Here, maybe should be the cactus. But and the tail right afterwards sleeping heavily. And let's go with the pen again. The MAO snoring. It's kind of fun to make enough like half, half the mouth. It's very popular in old cartoons to do that. And even now if you see Cartoon Network, they have kind of a, they don't continue the mouth. They kind of give it a different kind of features and different kind of perspective. But it still, it still feels like you've seen the whole mouth does because we're used to seeing features like doubts from animated films. So it doesn't look strange to us. Or brain is used to a certain money or have certain design. It leads us to complete the form. Even if you don't have the whole features, even if you don't see the whole mouth, we accepted as true. And as I told you before, the last humanistic, the mass, the less closer to reality a character is, the more except the design. As, as true. We just buy whatever the designer gives us. So you don't have to be afraid of making mistakes, especially if you draw cartoony characters and the more simplified ones like this one is right here. We have this poor little squashed and tail straight on shot. So let's make some shadow. So we see that the character is actually lying on the ground diagonally. And we add some whiskers. And we can even right. Now, this is now the z is basically not like that. You know what I mean? And now we have three pulses of the same character. And you see like we see who this character already is. Lazy. He likes to sleep a lot. Doesn't do a lot of homework. Basically doesn't do much. Like old. Most of the cats are actually. Okay, So let's add more poses. Now. Enough of him sleeping. Now, let's make him chase, Chase somehow. So something jumping in the air or Chase. A bowl. So for doubts, I mean, I have observed cats and I know how they look like, but if you are usually unsure and you want to draw something, you should go ahead and find some, some references online to see what they do, how their body reacts. To later be able to simplify and paralyze the cat. I'm just going to draw from my own experience of how I know the cat looks like. So their body is kind of like twist it in the air with their thoughts. Front their heads towards the object they're chasing. I mean, this can be a little tricky to get it right, especially when it's so simplistic that you don't need to draw a lot of shapes and so on. And sometimes, sometimes the simpler design is challenging to make this kind of posers. So if your cat is here and the ball is over here that the cat is chasing. He will be looking with his eyes over here. And the thing is that you can make it little, little twisted, little uncorrect proportionally. And let's have his pose threatening to catch it over here. His front legs. We have his eyes looking at the ball. His nose is in some exciting little look. So all I'm gonna get to, let's, let's even have he's tall, spread out and see if in an attack mode. And the cells can be very stylized as well. Just some little dots or something. They don't have to look like real towels. They just have to give them the impression of being that. And the back legs can be a little pits beaker as if he's just jumped from from the ground. And we can have them also stretched like that. Because, you know, in an emission, for example, if you want to convey, convey the feeling of speed, you stretch the character even though you lose the shape of the character, the main shape, but just for a few pulse is used to read without that is allowed. And if you, if you are an illustrator and you design your character, It's also good to use this. These tactics to to make your territory few more in motion. And let's have the tail over here in kind of our movements, you see how fast I can draw the spheres right now. Just draw them like that, like that and feel the movement, feel the movement of the cat flowing. This is the tail. These are the whiskers. And that's it. Let's trace it to see what we've got. Let's all get to exist. Storm outside so you can hear that. And, and the thing is that when you do a graphic expression like that, you can make the legs completely one-color, completely black, for example. Because if your cat is white or if it's another color, if you want to color it. Just having the legs being in a darker color and just being like a shape or something. It just gives a more possibility for use you to do different houses and different expressions. And especially when the legs are inside the body shape. If they are nothing same color. If they're in the same color, they may be lost and it's not going to be so obvious. What the silhouette of the character is. The silhouette is important because you want your viewers to catch the shape of the character from the first site. And not to try to guess what it is. Make it as simple as possible for your viewer. Don't make this confusing. Let's have this ball over here, maybe some kind of a wall. Just We like doubtless have the whisker song. And the whiskers now are going in the direction that the cat is coming from. Ec50 know in the cat jumps in this directions, direction, the whiskers we have will follow and delve a little bit behind the cat. So the dragged from the air that the Kathy's is he's doing jumping up. And there it is. It can even make some email like speed lines. So to say in a like you having tunes just to show the direction that the cat is going to. And speed lines over here just to show where the cat is coming from. And here, the cat is not touching the ground. So it doesn't need, you don't need to have the shadow like death. But what you can do is actually make a small set of that the cat would leave when it's only Hindi air. Just to point out that the cat is now in the air and it's not on the floor anymore. Again, it makes, it gives more depth to the character. Okay, so let's do a more of an altitude post for the scat. Let's have him looking at, looking at us with a more altitude kind of pose. So we're going to put him in profile. Which means he's like standing and trying to ignore us. So what we'll see is just the side of him. Let's start with the next shape, which means that he's sitting on the ground. He's, he's bought is on the ground. In this pose we're we see only his back powers and his front legs touching the ground. And let's have him with his eyes looking at us here because we don't have a head. We will have this expression happen with the help of the ice. And even though we draw the middle of the cat over here, DIS will actually be twisted away from the central, the center. Because we want to have indice kind of like IQ North kinda look saying that, gee, what's I'm talking to me. So he will have so you have one high over here and one little squeeze over here as if his head is turning toward us. And we will have one eyebrow like over here and one of the eyes, we will just cut off one of the eyes. And he will look at asks With it's kind of a suspicious kind of look. Are you talking to me? Just leave me alone. And here we have the mouth, the long mouth. The sulking, sulking kind of mouth will have one-year over here and see if we see an invisible headline. We will have d over here as if the head, if he had a separate head, as if it was tilted and we'll have his small little front legs gathered, is you know, that the cat's put their front legs together and they look really cute and funny, but also kind of important, pretending to be two important. So I completed this cat, the altitude cat of camera and edit a tail to it. So because you know the process, but, and here we have offers sheet with simplistic, simplistic kind of cap design. I'm going to do three more pauses of the same cath with, with facial expression. Just to let you see how, how this character becomes alive and how he's personalities come forward. Now, this is a lazy kinda cats. So let's do another pose on the cat's. Licking his, his pulse is from Paul. You know, like the cat is doomed Lazy Lake. So let's, let's have the middle line over here. And obviously the cat will be sitting down with his behind over here. So that's why we justify this X shape form. And let's have his eyes higher up, like over here somewhere. So we draw his eyes over here. He's now, so we'll be over here. Let's bring, let's use the middle line to to follow the mouth, where the mouth is going to be. And here's the mouth and let's have it open. And now I'm going to use this graphic expression again with having the mouth stretched and just being, just draw half of the Molyneux, like a Nickelodeon could turn cities seen. And we have his little tongue sticking out. You can also have a tongue with Ball, if you, with a circle, if you're not sure how to add it, just to find the right shape. Here he is. And he's looking up when he's licking his tongue to add more laziness to it. And here is one pole. Here is the other one, approximately the backbone. And he's going to keep himself steady with froms one front leg. And he is going to be leaking. The other one. Just curve it a little bit like here. And you can even add, you can have like a whole shape or you can add small toast to it, like I mentioned before. And he's ears is going, are going to be approximately on the line of the eyes. So if we drew an elliptical shape over here he is, the, are, the arrows are going to be like over here and the other one a little bit behind. So we have the impression that the cat has tilted his head, even though we don't have a head shape. And let's have the tail maybe right here on the floor, maybe we can lift it up a little bit like happy little cat. And that's it. So let me go with the black pencil and see what the cat looks like in this position. The ears. You see that I'm not really scared to draw details first because even though we don't, I haven't drawn the shape of the body. I can see what the body is. You can clearly see the cat now, so it becomes much easier to just fill in the gaps and trace it. And here we have the tongue. We can add some details, like the middle of the tongue. We can draw a little pulse over here. Draw the other leg, the pole on the ground. And the pulse just, just as like CEP. And you see thought so little is enough for you to see, to see the cat, the forum and the perspective Even, Even though is just a simple shape like an exit cat. We'll have the tail just connect. The outer shape of the circles, rounded up like that. And let's add the details, the whiskers. And here we go. Okay, So let's make another pulse where what a cat is actually laughing. Let's add a little bit more human-like features. I mean, the previous spouse when the cat was sulking. Of course, the cats. Cats does SOC, but it was also a game with little human-like attitude. And on the other policies we've just done a little bit more cat-like attitudes. So in this one, let's explore some human-like emotions like this cat is laughing. And let's have him on the site again, but this time on the other side. So just have the egg shaped form already. For other features. Let's have his tail on the ground, like over here. So now we already see where the floor is. Now, uh, let's have him laughing. So again, we'll have the eye is higher up, so we'll give more space for the mouth. And we'll see here is the nulls as if the head is a little tilted so we don't follow exactly the middle line. And here we lift up the upper side of the mouth. And you'll do a how half saved mouth, like taffy bluffing. And the typical thing to recognize. For example, a yawning mouth. From the mouth, the sloughing is adding some teeth because we do reveal or teeth when we're lumping and when we see both of both from teeth. Both upper and lower line of t, if it means that we're laughing a lot, the mouth is wide open. And let's have him close, his eyes closed. So he's like really into that. M Here we have already or a cat lapping. Let's put on the ears a year. And you now, let's give him some kind of expression. Monumental stop it. In the body language is the accounts laugh anymore? Just stop it. And what what do you do when you do that? Usually, you have one. We have one pole on the ground. We draw the behind pose. And he is in the gesture of saying the rapport. Stop it just before he brings his his front leg or in the Senate looks like more like a, like an arm saying Come on, stop with that silliness. I can't take it anymore. I'm just dying here laughing like that. Try to find a typical human-like expression when you do things like that. So it will add more and more vitality and more character to your two-character, means that during his lifting is unlike documentaries, gesture would suggest that this cat, which is lazy, mostly, mostly ignorant. When he loves. He can love so much that she can even be embarrassed. And he's not able to stop on his own. And he would like to put all the silliness In the name of the person who's made in love. So he will stay likes, stop at, Please. Don't make me go nuts, laughing like that. A more and more of an altitude kind of gesture. It's not like it's not a gesture like I can love every day because this is my usual behavior and moral like, I do not do that very often. And now you made me do it and you just stop at stop with this silliness. You know, your Caelian is sitting here laughing. So even when you have a kind of dialogue like doubts in your head, when you draw your characters, what they're saying and invisible and visible color kind of scenario that they're, that you put them in. It will give you more suggestions of how to draw the pose. So that's why it is important to know your character. And the more you draw it, the more the character will reveal itself to show you who they are. And it will direct your decision of how to pose them and what kind of gesture to put on them. And let's have the tail over here. We can even have maybe moving life like dots. If it's, if you draw a comic. We can add motion, motion length, lines like that too, to make sure that we dot the viewer his clear what can gesture this. But he usually, even without that, it's pretty clear what the posts suggests that the calf, the cat does. And here we have our Sealy loving cat. And let's do one last pose. So let's do one more emotion here. Before. Before we move on to the next lecture. Let's make the cats had, let's make him lying on the floor, completely stretched out. Really sad. So we'll just make a round saved because we'll see the other his his back legs unlike over here. So this is the body if that is the floor in perspective. And let's have his legs stretched like that. Even his back legs just stretched like that. And he's pulls up in the air. Really loose, but also expressing sadness. And let's have his eyes maybe over here just to give space for the mouth to come in. Because otherwise it will be like underneath the body. The mouth is so big. Just so we can express some more with the mouth. Let's make it sad. Sad board. So we tilt the eyes a little bit like the one with the elephant. When we have, we know that when you till the eyes like dots, it gives a sad expression to a character. Let's have him look at the side like that. And the ears can be probably over here. And let's have the tail lying around loosely on the floor. And here we go. Now we can just explore what kind of shape looked like when we defined it properly. You'll see that even without eyebrows, you can get a pretty good emotion with your character. And you see that the more you draw the character, the more the easier it gets to come, to come up with the pose. And now I have designed this character basically before your very eyes. I haven't drawn this cat before, and I haven't drawn disposal as before. But you can see how fast it goes when you get used to it. To do dots for character. Do not take for granted dot all the artists know how to do it. Sure. I mean, I have already a trained eye to see the perspective, like to see what a florist without having to draw it. Or maybe my handy little losers than yours because I don't need to be afraid of drawing the right circle because I've trained up in myself. But But besides that, every artist have to face those challenges when we start drawing. And sometimes when artists will notice I haven't been drawing for a long time. I mean, believe me, the drawings look pretty awful to start with. Every artist here, even on, in the mind can confirm that this is so, or someone who professional who is watching this. These videos can confirm that, that you have to, you have to draw off, you have to draw all the time. You have to exercise your ability. Talent is one thing. I had a teacher that used to say, talent is only 1% and 99 percent is just hard work. And this is so true. It's true for everything you do. And now let's have some shadow here. So we have, so we know what Flores just underneath or a cat. A sudden, we have a very sad little cat. And you see now we have this reshapes plus the other one on the other sheets of paper with a cat. Much alive. It has so much personality. And what we started was just an X shape, just a loose circle shape with a blue pen. So that we weren't not distracting yourself when you're doing details to start with. And just adding ice, adding personality, adding pauses and emotions to it. We have already character ready to go and meet the world. And so starch, go ahead and start doing your own exercise, design your own cat. And the thing is that when you start doing this exercise, even if you, if you try to do the way that I've done this cat, is not going to be the same, a slightest changing proportions of the eye, so the body creates a completely new character. The most important thing is that you, you try it out. And, and even if you, so to say, tried to do exactly a copy of this gap and you don't get it the first time. Just don't be discouraged. Because whatever you do is going to be your personal design, your personnel character design, and that's going to be unique. And even I could be able to copy your design when you've done it. So just go ahead and start testing Bell and I'm going to continue with the next lecture. 13. Lesson 11: Draw an advanced cartoon bunny: In this section, I'm going to design just one character. And this time I'm going to explore a little bit more of the facial expressions. And I'm going to apply them to poses of the same character. So I'm going to choose a more advanced character because by now you should have trained my pretty much with your own characters. And also because I would like to give you a challenge, just try forehead so you have a more times character you can work with for this section. So let me start with designing the cartoony character. And this time I'm going to design a funny, the same way I started designing the cat or the end funds. Let's just start with loose circles. You see you hold your hand at an angle, did not hold it like dots. That's going to stiffen. You just get used to draw like that. So this is the head. Now, let's design the body. Tiny little body, as we said, as I mentioned before, the proportions with the head and the body having the head much bigger. Give us more of what cuter baby like. Look to your characters. That's why we do a thicker me with anything that's, babies are cute. And let's have the legs of the bunny be also very tiny and in proportion to its head and the body. And let's give it also seen lots feet, because that is very, very specific for, for example, puppies. Small, small puppies signal like dogs. They have specifically a very, very large lacZ pulse and that makes them very cute. And we'll give him like as a proportionate. Hence, with a little bit of disproportion that pause. Or Hanson, again, four or four defective. Having the bunny looking cuter, looking more like a Baby like, but also giving him some human features. We're going to work with him teacher S here. So that, so that we can explore more clearly the emotions comparing to the humans. So let's keep the center of this. Bunny's head, approximately over here. And again, let's make the mouth area tinier and give him a big forehead. Because babies have that. And the way that both lines meet, Let's have these be the place where we'll have the nose. And this time I'm going to give the bunny big nose and very large eyes on both sides of the middle line. And let's design the balance. Chicks, approximately over here in the bunny has this small little nosy not touched to the chicks in France. So we have the possibility, we have the chance to make that 2k, use that in our design and look cuter. And let's give the bunny to front large teeth over here. And the mouth a little bit behind the teeth and will have his ears. Now, we're going to have a very large ears, a little bit goofy here. So we've got to decide one big circle over here, X shaped N1 on the other side. And you see the circles called correlates to each other with the distance between from the middle point approximately to the end of the year, for example, just always connect body parts according to something else. And this one, if you measure it approximately, it's going to end up a little bit behind the bunny, the bunny's head. And let's make the eye, the ear of the buggy a little bit tip that I like it. That's just to give you my goofy or kind of look. And I'm going to give him very large pupils. And for the sake of making it even more human-like, I'm going to give him a little bit more of a photorealistic eye. So I'm going to put a pupil in the middle and have the thing around be the iris. So when you see, I'm giving him a light, a little specular in the middle because immediately to it brings life to the character. And let's also give him eyebrows. Because we want to have, we want to explore, explore their facial expressions. And it's much easier when we have eyebrows and. Um, even though bunnies don't have eyebrows, again, we want to apply human-like emotions to the character. As again, Barney's don't have any emotion. They don't love, they don't feel said. Just cartoony characters does. Because we want to identify with them. We want to find ourselves in this character to as a, as a mirror. And here it is, already pretty finished. So I'm going to define him over the black pencil and see what I've got. You see, I hope you've done a lot of exercising with this other character. So now when you come up to here, you'll feel more confident to go ahead and draw freely and not be afraid that even though this character may look advanced to start with, just started with loose hands with a lot of circles and spheres and define it later and you see how you hand. We'll kinda adjust to this character to draw on like death in your shapes, the forms will become easier and easier to draw. So here it is funny because it's, the ears tend towards us. We can give it some kind of a wrinkle where the flesh goals more inwards like here, Mickey put it some setup just to define that this year there is a darkest space there. It's going inwards in the bunnies plus year. And now we've got even a bigger nose than I initially thought. But that's just, that's just make things, making it better. Because I'm exploring this character. And from the view, I haven't drawn this character before. I'm just shaping it according to the principles of a cartoony character. The way I explained it to you in the previous section. And you see how quickly this becomes a real character. And even though without using any references and without having any previous knowledge of exactly this character. We can design a brand new character that we already feel. Feel sorry for a field, field for. If we've had in mind to have other kinds of features too scared than those that we already applied. Just started another drawing and apply those features. And we have, he's goofy little t for we're here. Let's give him two teeth, just splitting a middle one here gives him immediately some kind of goofy next to it. And the body has his mouth behind. You see how little strokes and how little I draw now that I have my basic shapes. How little literally need to have your character come to life. Here, the arms and the large pulse. I'm going to give him a TM just to have him more human-like. Because later on we'll gonna do polls us with this character. And I want him to be able to gesture as a human does. And I'm putting the default pose of this bunny. Default policies. It means that neutral pulse, but it's not some neutral here because he looks kind of, he's smiling, is kind of happy. If you're drawing a book or if you become an illustrator and animator and you want to draw your characters, your Modeller, the person who would model these characters, maybe want to have a neutral posts. So, so we don't see a smiling like dots here to start with, but we add that later on when we create the shapes of the character and the expressions. But when you design your character to first, you want to see who the character is yourself. So you want to give the character some kind of an expression. And if you, if you present it to some other people, like for your producer of, for your publishing house or even for your friends and family. You want to say, well, this is my Bonnie, I'm going to put this one in the book. Oh, you don't want to have him completely neutral because it's going to be live less, some kind of expression, some kind of emotion to the character, reveals who the character is. Now I'm going to give him more details here, like a real toes. But you see, I'm still following the shapes that I drew from the beginning. So as soon as you have that is just no brainer. What you have to do next, your brain, your mind connects, connects the dots for you. You don't have to do much more. And so we'll give him some whiskers here to make him look even cuter. And among am going to color even black even to nothing. Give him a little specular on the nose as well. Just as if it's a light bouncing on his nose and now you can't see it so much, but it kind of give you, gives a little bit more volume to it. And here we have, but here we have only two beanie. I mean, took me less than 10 minutes to design this character so you see how fast that goes. And the object. 14. Lesson 12: Prepare some general facial expressions: So now that we have or character here, let me start and show you some, some facial expressions using only the facial, the eyes and the eyebrows, and the mouth. And I'm not going to take these facial expressions just I'm going to draw a general phase, show expressions with, with the eyes and eyebrows and the mouth. And later on we're going to apply those two or little Bunny character. So, so a happy one is when, if we have cheeks, for example, and the mouth, this is a smile. And if we have the eye, so we're here. And while someone smiles, it usually leaves their eyebrows. The person give their eyebrows up. All of the muscles in the face there just leaped up and a one, if the character has cheeks, It's usually going to put some nulls here. It usually leaves the chicks up to create a happy expression. Now let's make the same thing again with a pair of eyes and just the general kind of face. Our cartoony character. And now we'll have a really happy face, smiling or laughing. We have the nulls. And when the character is lumping, it also lifts up the eyelids. The eyelids go up and the upper eyelids go down. It's more like a squinting. And the mouth go really wide. Any usually here we see, we see even the teeth of the character. Just draw a generic basic teeth. And sometimes we can even see the tongue and the eyebrows. Sometimes they go even down because the whole face like greens when we laugh. And it's like, it's almost like painful laughing so much, you know. You see people just they can't stop laughing in the eyebrows. They look almost like sad. And I'm going to define those features a little more. So, so you see them. And now here that we know. But we got to see a little bit of the pupil. We can even hide it now, we don't need to draw with a, with a black pencil. And we draw the cheek. The mouth is bulging. The cheeks here. So like that. And now let's have, let's have a sad face. You're going to gain the eyes, the nose. But this time the face is set, the lower lids are kind of tilted towards the middle of the face. And usually the eyes are looking down, usually maybe even on the side, just to edit more, even more sad expression. And the eyebrows. It's kind of like almost like the eyebrows off the laughter. You see this all similar. But this time they even closer together. Until that up and here at the mouth, the trunk down. All the muscles are sinking down and the character is really sad. And here we're going to have an angry expression. An angry expression. It's exactly the opposite of the expression. The eyelids are kind of gathered towards the nose, pointing towards the nose sharper. We see half of the eye of the pupils here. And the mouth is also tilted down. But now we see also the teeth cringing. The teeth. We can see if I'm a little bit off the mouse space, this is TIF pressed together in an angry expression and the eyebrows are lower in the face. Just hanging and squinting and above the ice, kind of pressing the eyes inside the face. Let's live with black. You can, you can stand in front of the mirror yourself and, and do different expressions. Now, one thing I experienced, one I started with that though, when I started drawing is that whatever I did with my face, I could I couldn't really simplify my expressions. I didn't know what exactly my mouth was doing it in wherever I do that, my mountain look like that. So for me it was very confusing to how, how the artist found those expressions. And so now if you think, if you're thinking the same as I did that back then, I can totally understand you. So maybe what else you can do is like cocoa, different expressions of characters online and end. Just have a library of those so you see how they react and then you can apply them T, two characters. So these four expressions, and let's do one more. We'll come to say also as sneaky kind of expression. So we're drawn withdrawal those eyes again. But this time we're going to do like puzzled expression where one eyebrow is up and wine is down. This is very well, very much used in cartoons. And usually we place the character in, in profile just to give it a silhouette. I mean, even if you've seen the film with Jim Carrey, the mask, you'll see that she does a lot of delta expression just to act as a cartoon character. So, so this expression is very much used like character. The eye, eyebrows, a little bit tilted. And this is even a little more tilted. And we have different this asymmetry here with the eyes. And the character of having this sneaky kind of look. Usually we screened towards the eye that is more closed together. So we enhance this closeness. So we have this sneaky smile towards the more squinted I, rather than the more open eye towards the more open I will have the mouth maybe being more symmetrical this way. And the corner of the mouth on the outside will bolt, will bulge that the cheek a little more. And here we have it. Move a sneaky, puzzled kind of look. The same like, Hey, what are you doing up there? On the motion may be of disbelief. If you're talking to someone, you kind of don't trust him at first, don't believe him, or you want to stay cool. He might be press the eyelid a little more. There are variations, variations later on on this and the same emotions. So there is a lot to explore. I'm going to give you just a couple of them. But human face and human features are really spectacular. And today I saw a solid region, emotions and different shades of emotions. This is just e11, complete new chapter. So here this and we have this five emotions from happy to sad, sneaky. And we're going to apply them to a little bunny. And in the next lecture, and we're going to add opposed to him so that it matches the expression. See you in the next chapter. 15. Lesson 13: Happy Bunny: So let's start with or smiling bunny now and how to apply those features to our cat. Now when we are smiling. 1, the difference between these two poses is that our body is still. Now when we are smiling. Our body is opened, opened up. It's not dragged down, not we'll see with the other process. So let's have our bunny lifted up with his a pose where he's maybe with his arms behind his body, you know, like a more of a kind of shy little smile. Because smiling everyone or every month, those expressions, I have variation to it. Let's add this smiling face to a sigh bunny that like he's seen a girl for example. So we will have his body line, the spine movement over here. And we can have his head a little bit tilted up and at a site. And let him stand. Polls in one foot and with the other one. Like having these cute little pulse where he is like in our drawing circles on the sand. Invisible Circus on the sand, for example. And let's have his arms behind. So you see how simple it is that I already have a character and you can see his posture already with just simple tricks and simple circles like that. Now let's have him. He's now so we hear his cheeks, his eyes, and his mouth. Now because it's just a simple smile and he has teeth in front the pin. So exactly this kind of character. Maybe you won't see the whole mouth. Or maybe we can bring the teeth inside the mouth so they don't stick out all the time. I mean, these are, these are things that you can think about later on when you design your character. What part of the body you will have visible one note, and now you find the position of the ears as you see over here. So maybe one year is like tau over here. And one falling down. Like the falling, the leaning part. The goofy part is like over here. And you can add even the ER is involved in this poacher. Like being more playful. Because as we know here that he's going to be airlifted shine 40. So we have a girl might be standing over there or he is. He's in love with someone and he's smiling. This cheeky little smile. The eyebrows high up in the body, in the face. And we find the pupils. One thing you'll be, which will be challenging for you to start with in the beginning is to, to find where the character is looking and to make the eyes look in the same direction. This is something that I experienced as a challenge, so don't be afraid. I mean, it is much easier, of course you have the ice like that completely filled in then to have a pupil inside, if that makes it easier for you, ignore the photo-realistic look and just meant the eyes completely black until you get more comfortable with the shape and the form. And then it will come naturally to you or you can just train a little more and a little more to just two. I i directions to tell you the truth. I still have problem with that and not even me. A lot of my colleagues that I know. They have to do with a couple of times until they get it right. And again, no matter how much, how good you get at something, you will always feel that you are not done and that feeling never goes away. So here I'm going to do so that the teeth, the teeth are hidden. So we can see the Chicken Little smile of Albany. He has a little mouth here. And the cheeks. And here we can see on the lower side of the face and the big eyes. The more confidence you get with the character, the less lines you'll have to draw. Of course. But you see, for me it's drawing the spouses because it's not a character I'm very familiar with yet. I'll have to draw a couple of times to find the form. And why I want to, to show that to you here is that to make you feel more confident about it, to give you a perspective of how you can do things, of how you can improve on and how things are in the beginning and end to give you courage and show you that things are learned with time and practice. And he never comes right away. So I'm going to have chief's arm over here. Now here is his belly button. Maybe. Let's have He's like plane on the ground. And I2, cute, shy little pulse. Because this is also a character which would design which is shy. It's happy character. If, if we had another character, maybe, maybe you wouldn't do that. Maybe it will smile in a different kind of way. So explorer who your character is, and how do they have these expressions on them? With what kind of poachers do they use? Like for example, you know, your, your child or your friends children. They don't smile the same way, like for example, your grandmother or Y1, Y2 yourself. And just notice your friends, I mean, all of you friends, they smile in a different way. They have completely different posture. So here is our silent bonnie smiling. And now we have this both non-goal to do. The next pose of the character laughing. Okay, so let's do a take on the super-happy pose. Now. What do we do? One more lifelike, like crazy when we come stop laughing. It's kind of like very similar to actually painful posts. We hold or stomach. We kind of bent down and can't stop laughing. So I'm going to do a kind of a goofy kind of pose of this bunny holding, holding his stomach, not being able to stop loving. So let's have the head over here to throwing as usual, loose trying to find the round shape and the body behind it a little bit more further away. So, so we'll have so we'll have the feeling that the hair these like tilting downwards. And I'm going to have him hold his stomach with his paws. And here the arms is going to lift up his shoulders. You know, we, we do that with when we smile, when we go and laugh hysterically. And I'm going to make him ben his knees. So his feet are kinda of like closer together. Having these look like all I'm going to pee in my pants. Sorry for that. But we do have the autonomic kind of like explode when we're laughing. So let's have this kind of post because it sits or bunny to love like that. So childish cell-free that he can't stop and will have his face a little bit tilted. And he's like saying, come on, stop it. You're killing me. These are his cheeks on the line here. For the eyes. The eyebrows, almost lifting, almost in pain. And he's goofy little years then on very little, but they're pretty big. And let's have him close his eyes completely. Like really dying of laughter would just have them the support and a little bit like that. Now you can't see probably anything. And that's something you're going to happen in our when you draw and you want to find the right pulse, if it's a difficult pose, you have to look for it to all the lines. And this is his little mouth. Now we're going to see his front teeth. Because do we have this spouse? Now? We have to basically applied to our character, so it's not going to look exactly the same. So we'll have to, we'll have to logically think, how would these kind of mouth applied to my character? I mean, if he has the nulls here and the chicks over here, what will happen with that? Mao, how well it's going to sit and how this kind of eyes will apply to my character, my eyes, the character of my eyes. I mean, the eyes of my character are even beakers. So then how does it apply to the shape of the head? So this kind of questions you're going to have to think about an answer later on. But that's kinda like a part of the process. So I'm going to reveal for you what the character looks like because I kind of, I can see it, Bob, I'm sure you're a little confused of all the blue lines and all the scribbling going on over here. But I'm, will assure you there is a character inside here. We go with the ears, is the mouse. And we have the teeth showing up. We can even see a little of his town maybe like that when we have the shape of the mouth and then lift up his front teeth, you see we have the shape. And because this, this shape here is we are seeing in from the front and this is a little bit tilted and it's from the three quarters of a face, we have to apply that kind of perspective change to character to or character so it matches the pose. And the six are bulging up. He's like dying, dying of laughter. And the eyes are closed. Or maybe just a little bit over here. And now almost the eyebrows almost in a painful position and curved in the painful expression is a Come on, stop it. I can't take it anymore. I'm dying here. And you can have v1 and little bulging of his mouth just to enhance the feeling of flatness of of him really stretching himself to log off. And let's find where his body is now. He's, you see that his body color to show this over here. And we don't see it because he's around, his big hand is covering it. But we just follow the form and the shape that we think it's visible. And here is his other hand. They like to gather, gather together in front of his stomach. Holding his dumbing saying, I cannot do this no more. Stop, Stop it. His body is almost Dino. Squinted, is a squashed position, and his feet are brought together up front. And his attorney, the kind of life brought together as if he's trying to hold himself from going to the bathroom. You know, when, when you're drawing characters in those kind of poses, it doesn't matter that you draw something wrong. I mean, the pose itself will give it so much mood and so much character. So try to explore your character is and to draw him in them in a more exciting, exciting poses rather than keeping them symmetrical and clean and so on. Uncleanness is not the most important thing for character, but emotion is here. No. I mean, we do not have clean characters here. They are pretty they're pretty drawn on. I mean, they don't have clean lines. And so the whiskers. And here we have our next Bonnie laughing like crazy. Given such setups. So stands on the ground. 16. Lesson 14: Sad, angry Bunny: Okay, so enough with the funny poses, Let's have some sad little band is here. And I'm going to use this space over here to make or sad, sad bunny. So, so what, what do we do when we are sad? It basically sink sink in is just all of our pastures for reporters drains. It's like with drag down from the gravity. We have no mode with that and you have no strength to hold ourselves up. Some heavy we are from sadness. So let's apply though these two or said Bonnie and have him feel drained. So his head and he's going to be drawn down. And we have his feet a little bit bend in the knees like barely holding him on the ground. So he can solve. We can have the arms really dragged down towards the ground. Very loose. Another arm with his pose. And then he speeds just dragging down. You can already see just from this simple sketch how the picture is going to be. Let's see, even involve his ears this time and have his ears pull down. Just one part of the year which is behind. Then here is the outer year, just completely drained. And his face also down. So we have already or basic shape to start with them building this, his facial expression. Let's find our middle point, where or ice will be and the nose. Like over here. You can draw whole circle if you want. If it makes it easier for you. And the novels, it's going to be over here. With his cheeks. Over here said Little ice over here and the eyebrows to strike down. And let's have the expression already. Taking shape. We tilt the upper lid down and have the bunny Luke, also downwards towards us a little bit so we can see his eyes and see his expression. And know-how said he already is. And we can add some teeth. Here. He has his mouth open, but his mouth is like said. Now again, because the pad is so small, you don't see this details. But because I have all these circles in place and I have the middle line in the whole shape of the body are kept of the bunny. I can totally see where his eyes or his teeth are. And now let me show you and it will give them to you. And here you can start from wherever you want actually to, to define your bunny because it's already there. It's is just a matter of fine tuning it. And it feels like, it feels like magic. Every time you do that, every time you design a character and comes to life and you put them in the pose and you feel the characters in motion, it just become so real. No matter how many times I do that, it still feels amazing. I mean, isn't that why we're addicted to this hobby or profession or whatever you wanna call it, whatever it is for you. It is basically addictive because you bring characters to live that haven't been there. And now we have even the other I am going down now we can't see it so much from here. But that is fine. His teeth and he sleeps until track down. Now we can have a sulci little mouthful we here to see how said he really is. And the other year. Now, let's save the body. All the lines are almost parallel with I mean, not parallel but they're just drag down their legs straight down towards the floor or like drag from the gravity. They have no power of tail to move. Heavy, heavy body parts and the feet. And here you've got a lot of body parts together. So just to, just to define which comes for us then what is the arm and what is the space between it? You just save the things that are farther away from the camera or from, or from one we see. So just put one arm in sit and just some say behind the arm which is in front the vos. Just to design some, to create some depth. And so that we can see that it's a couple of body parts lined up. All drag down. And here we have it. All set, little bunny using this emotion, this one. And we have a character coming to life. Okay, So let's make an angry bunny now. Now, how would you define thus be judging? When we get angry, what do the body looked like? I mean me and we're getting very defensive. And we kind of have this aggressive, upfront, aggressive look towards someone. But we angry at the bodies might be tilted forward. It's exactly the opposite of this expression where the body has no power. It's feels tired. The angry body, the equity poacher is tense. It's the, the hands us squeezed in, feasts, maybe. And the head is forward, showing that do not, do not come near me or I mean, you don't have a right to do that. Again, just to use dialogues that the character, what say, to define what kind of profile they will get. Now if the body is tense and lean forward, the legs will be gathered together in a very straightforward posts. Small like a, like a military posts. You know that all the body parts are kind of symmetrical A1 to each other. So if this is one leg and here's the other and the legs and brought together and all our energy and gathered here in the head just to show or augment how wrong they are. So, so let's have our Bonnie more than diagonal pose. This is also symbolizing expressing anger. Anger when someone is tilted, has one direction. It just gathers and send his all his energy. Just one source. Towards one source. Yeah, I've been talking a lot now and my language is suffering. But anyway, so let's have our character. Looking at someone over there. This is where the chicks are going to be, m, the ice. Let's have the eyes over here. The nulls, the chicks. But this time we're going to have these angry mouth, eyebrows lower down as if our character becomes unrecognizable. And that's what happens. See now that when we are angry, we are kind of unrecognizable because we get this eval expression. We are not usually the very few people that are actually evil, but when we get angry, like people cannot recognize us. So let's have the ears of tense and pointy. They're not goofy anymore. This planning means serious business. And let's have the eyes higher up. We usually face the object or a person who we express angled words with our eyes strength at them with the head tilted. So we look at them from under or, or eyebrows. And here we have it almost there. Now let's go with black pencil and see what we've got. We even make the eyebrows even bigger than they actually are. Just to enhance the feeling of anger or frustration. Round up the nose so you get some flesh into it. Now, it's when you feel a little bit lost or discouraged while you're drawing your character, just try to find the features that would give most life to it. Like for example, if you draw the eyes and they come to life, it will give you a new perspective on your strength. Continue drawing. Because there's, they're also such moments when you start something and it just doesn't look right. But as long as you draw something that you're completely sure of, then it motivates you to continue. Now let him bring his teeth together and he's little cheap drag down. So we just continue outlining the canter. And you see how much more different expression, the pulp to guess one, the ears are not. Goofy, like this one. The detail of the inner ring over the year. And now let's have, let's outline his body, which is more. Babies can have like the belly bottom here you can see how the movements, how the movement of the body, since he's ten skis, leaning forward with feast squeezed tight in aggressive pose. These are the columns. We can even add a little line here to define where dm, the MCL is. It's just very small details. Give more depth to the character. And the feet. I'll slightly spread at the site. Each side like that. And we can have whiskers. And instead of rounding them up, just try to make them sharper. That will give us the snow character to the feeling. And we'll add some shadow. So have the bunny standing firmly on the ground. And here we have or angry little bunny. So much different from the other, the other characters. And you see, you see how big differences comparing just an expression when we have just a facial and when we attach that facial to oppose to that applies to the motion. 17. Lesson 15: Cheeky Bunny: So let's work on our last expression here. The kind of a cool casual Bonnie. And we're going to give him a little bit of a relaxed school posts. So we'd like he's pointing with the fingers, like catch your body in. Like alright, pointing with the finger at someone. Just relaxing one foot. And we'll go and draw in from the side three quarters. So we can have this line of action of him being kind of casual, relaxed. So here's the body. It's kinda bar. If we know the hips, if he had the belly button. So it's going to be around here and we'll have the torso linked on that on that side. And he will be leaving. He's right leg. Leg or his left leg? My right leg here. And he is going to kind of casually relax with this one. And then he will have he'll have 11 arm on his hips and the other one pointing at us with a finger. Like catch you limb just roughly sketch that pose. This can be kind of a difficult false. So so you may want to do at a couple of times. But I mean less. Let's do a basket and let's challenge or cells here. So we will have him look a little bit. And the sides towards us. This is going to be he's middle, middle of the head. And this is the line where the eyes are going to be and cheeks. So let's face, let's find the place up the nows. One eye is here. Let's have the other one, a little smaller, little more squinted. And as we said. Let's have the bolting of the cheek more here than here. So this is kind of still going on boat, but not as much as this other one. That's really squashed this over here. And open up this one over here. Giving you more shaky kinda look. The cheeks here and the goofy ears. Now we've got all bunny here so we can have his making goof out his ears again. Hanging a little bit heavy here, Fluff em. He's looking towards us. All right. Catch you later. We have one eyebrow here and one eyebrow lower here. Now this is kind of the basic shape. And let's outline that and see what we've got. I hope you are already feeling empathy for this bunny. Because spending so much time with these lectures and seeing the character growing. You know, if I tell you, let's, let's do another posts, you basically guess how the pulse will be, how this bunny will react in certain situations. And as you noticed, I still haven't used an eraser. Isn't that amazing? You can also do that. You don't need to race. And here he is, Steve, his nose. Let's have him about this little cheek over here. Do you see it now? And let's draw the legs. We can even define the mouth a little more, just make it more fleshy. And we can add here. The detail from now. He's here. On this side. One foot is bending, will add immediately the tolls. And here is the R. Here. You don't need to add fingers if you don't want to, if you want to challenge yourself, just maybe separate the fingers to have a more photo-realistic or on a more human hand. It's not going to be photorealistic. We are in discrete tuning as cartoony characters, but it's going to be more human-like. It is a big difference between formalism and being human-like. Because if you can even draw cartoony human characters, that's definitely not for realistic. And here we see the finger pointing down. It's sticking out. Really big. Same to us and we have a made up dump. You see how this finger immediately take some perspective shape and give him a kind of a cool kind of look. And now we have the whiskers. And here we can around them up again because it's D or all little funny, which is a little cheeky. Now we can add some shadow to width as well. I mean, let's add some shadow to this little bunny as well. So we, or a consequence with all drugs. And just just not just the ground, just a little bit. And that's it. And here we have a so-called carries your shit sheet of or Bonnie. You can explore this character in many other ways. One thing you can do is stand in front of the mirror and take the poses, impose the bunny in the way you stand. Another way is to and get some references from Internet. The indifferent pulses and place your character on disposals. Just using the features of your own character and not trying to copy the other characters. But for now you can use this bunny as well and the video to practice. And I'm going to continue in the next lecture. 18. Lesson 16: Draw a Turnaround: So welcome back to our next lecture on how to draw cartoony characters. Now, you recognize some little bunny from the last lecture. And I have prepared us for you because in this lecture, we're going to learn how to draw the character from different sites in animation and even in illustration of this principle is called turnaround. So when you make a turn around our character, it means you draw it exactly the same, but from different sites. Like for example, you draw the character from, from the side so you can see how it looks like from the perspective. You draw it from the behind. So you see what kind of features it has from, from behind. So you know that when the animators and illustrators draw the character in different pulses, they, they drawing the same character. And also just for you to know how you kept on the click from different sides. And now I have been talking all this time about being loose. And this time I'm going to talk about how to be strict. And y are left out for the last lecture is because I don't want you to get stiff and afraid about about drawing the character. You, you need to first train and Joe loosely to find the form, to find the shape, to find the character, the motional EMF a character. And it's not so important that your character looks exactly the same all the time. The only thing that is important is that the proportions of the character with within the same character are similar. And as I mentioned before, you do that by comparing the proportions of, for example, a NIH to something else. So for example, a null so, or some other body part. Anyway, how are you hire? Do a turnaround our character. That's what you will need. Linear. And what you want to draw is the align from the most important points of the body. You can draw as many lines as you want. As long as you keep track of what these lines read, what the line that represents. So basically, this line represents the end of the body. And this one is lifted up a little bit because we'll take this as a final body line. So kind of make it coming here. You draw there, draw a line where the head starts and where the head end, where defeat. And now this character is in perspective. For the better result, you will need to have your character and may be completely flat. But to me that works just fine. And this is where their feet, and here is a line for the arms. You will need another line for the ears as well. But now we have a lot of lines, so let's keep it simple. So now we want to have the character turned in, in perspective or I mean in a site. You can also use now you linear to see how big that their head is if it's completely round. Do we really want to have a character have a completely around head in from the side. Probably not. Because our heads are not as wide as and there. I mean, they have different sizes. But let's let's do it like that for now and see what's happened in how much we need to. It actually looks pretty good. So I'll keep it the same size. And now let's see how big the bodies. It's approximately 2.5 from the side. And the body ends up like around here. And now we don't want the body to be completely the same because we want to have our bunny to have a stomach over here. And let's add the legs. The legs are starting over here and ending here, because that's where the foot two feeds that. So let's make another line over here, approximately here. And we'll have this foot a little bit in perspective. Like that. And the arm will end up from the shoulder from this side to here. And now this arm is a little bit in the air, so it's not good. A little bit. It's not quite correct. And if it's completely straight, it will end up a little bit below. So below the line. So we draw it over here. And now we can find where he's features life. So the nulls will be, the mouse will be here. It's going to vote out. And here is the cheeks. Now you see the mouth kind of like come on this line a little bit below the line when he's smiling and the teeth commonly pits over here. So this is his mouth. And the, I go approximately at this height. And the pupil lands over here. It's a little bit squashed because it's at the side. And the ears start approximately here. And make sure your lines are drawn. The end up here. And from the side is going to reflect that. And it basically align. The goofy little vein outlines what a year starts and ends up over here. And the last, the next year is going to be in perspective somewhere around here. Now this has a different kind of perspective. So basically you will have to lift up they are a little more because it doesn't do it justice. But these things you have to tell us why. It's good maybe to have it. Not an IV, but still good to have it straight if you do such a sheet like that and you have to try. A different approach is you want to explore your character. You still don't know how this character looks from all the sides. So we haven't drawn the character from behind. So this is a good opportunity to test that. Okay? This guarantees from the side. Now let's make the one from behind. And it was approximately six centimeters in diameter. So this is the bunny's head. And his body ends up on this line. And here is where his legs and up here what I started. Do we want him to have a small tail maybe? Here we don't see it. I mean, I haven't drawn the tail yet, but let's have get's add a little tail. And this is going to be on this line. And if the legs and not in perspective here, so that will be straight. And I mean this, this work is much more PDS. And then drawing a character loosely. But I'm just going to give you, to give you this lecture and this knowledge. And you don't have to see what the heart and the arm ends over here. We use this one because we already stretched that. This one was a little bit in the air. You see a more hits from a different angle. So, so let's use this one as a guideline. And from here we'll see how he's and he's Ingress. Let's do the same approximately here. And let's see where the ears will be. Going to be approximately here. They'll end up in perspective over here. And this is another year. Now because we are looking at from behind, It's going to be on the same line as this one. So this is our bunny from behind. And now if you want, we can outline the characters. There is just one character, but with different pulses. Forgot to eyebrows. They'll be just below this line of the year, so I'll be here. And the whiskers doesn't have to be so precise because they can change places. This is something that every animator does, no matter if it's 2D or 3D animator. When they want to, before I start animating the chapters. For the 3D animator, these things are important because he or she gives them to their modular. Who needs this information to know how the character looks like from every, from every angle. And for the model are it's important even to see this little thing here you how the body come continuous inside the character. The more information you give them, the better it is. For. For a 3D animator or well, even for the 2D animator is important also to have a breakdown of each part of the body like you do the same kind of scheme for the arms and the legs and make it, make it so-called turnaround of details too. To make sure you've given more information of how big The their feeds are, the Ansar, how did they look like from inside, from the side? Every information is important because when you work in a team, even if you work alone, Hey, you want to know how these details look like. But especially when you work in a team, you can't take for granted that your team will know what's in your head. That everyone will know how this bunny looks like from from behind or from the site. And if you want a very specific clock, then you have to do your homework and do this kind of character sheets, one that we already did. And this one is the turnarounds to show how the character looks like from different angles. If you're a beginner, maybe you will not do that. If you want to do it just for a hobby. You can go ahead and use the other lectures just to design your book. But it's good to have this exercise for you to practice them. So yes, that's all little character sheet. And you can have that on a computer on or on your wall. When you draw your book and use that even your own animation, you place that in your animation scene if you use, if you work with 2D animation and you have a basic guidelines, how, how big is each part of the character and how the character looks like from one pose to another one, he turns around. Here you can have more pauses in between. You can have him in three quarters all the way from here to here. When many, many shapes. So the bigger your team is, the more important diseases. And this is, this is it for this lecture. And I hope you enjoyed it. And go back. 19. Lesson 17: Draw your own hands: In this session, I am going to give you an additional lecture on how to draw hands using just spheres. So look at your hand and try to imagine that to see you hand as simple shapes like this 11 CEP. This one is one, say, this one is one shape, and so on. So Let's do this simple exercise and draw a hand looking like that. For example. You can see, and you can just have a definition of watches see just roughly. You see just one. The hand claps here was one shape. From the side. You can see a town. Let's have a first as just one save. And you can see the fingers lined up like that. 1, 2, 3, EGN, 4. Now let's break it down. Let's bring this circle into two shapes. So we have the bottom line of the bottom part of the finger of the tongue, and we have the upper part of the tongue. Let's define it better. That is tending a little bit. We have the bottom line, the bulk power of the index finger, and we have the upper part band like that. And so we'll do that for the other fingers. And the pinky. You can see that we can already see a hand over here. And let's go with a black pencil and see what we've got. And the cartoony hands are easier to find because you don't need to go into too much detail. You just connect this shapes and you'll connect the shapes and just connect the line in between. You have the thumb over here. You trace the hand, the outer line, and the pinky. Because you know, your fingers are getting smaller and smaller the farther we go. And here we have a basic shape of the hands pretty quickly. So you can add details like for example, two lines here just to define these kind of lines over here, it, they don't have to be photorealistic. If you want, you can add some nails. Just add some circles here. And because these are in perspective that you're going to work maybe like that. And you see we don't see much of them. Maybe just the line. And you can even add details like this kind of corner over here. But because it's cartoony, you should be more simplified. So a simple line like that is important, is enough. And you can add small lines like I have to see where the thinker is panting. And here you have a basic shape of the hand. Let's do a simple one and have the hand from this position. Look at your hand carefully. Mc, I see what you see. So let's have the palm like one save, one round save. Just draw. It looks like we've done for the whole lecture here. Draw the thumb over here, somewhere here. And now draw the index finger. Draw the middle finger a little bit thicker. You see the next one and the gap over here. And then being key over here. Now let's break it down. Let's do a lower part of the town. And the upper part, C, the law part is a little bit bigger and the upper part is a little bit smaller. Same with the index finger, is actually have three parts. So you can also add another part over here, which is this one. It depends how G cell 21 on my kit. And let's adds the middle thing, unlike dots over here and the next one. And that pinky. And that's it. Now graph the back pencil, the black pen. So I mean, in just connect them and go through the lines. Now here you'll be suggested by your mind that you don't need to trace it over here because the hand will be pretty fat. I mean, you can do that as well. The can, if you have like a more cartoony character that has these features, but just connect the lines that you see. The thumb over here. Now this is from a site, so we have maybe a nail over here. And here is where the arm starts, the wrist, for example. And you can have some nails and G cells of the fingers. Where the bone, where the bone connect to each other underneath the skin. You can have this one over here as well. It's very little to give the suggestion and the illusion of being a real finger. Especially in the cartoony characters. You don't need to put a lot of detail. All you have to do is to strive for an anatomical details or just see the perspective. But the more you do from this exercise, the moisture gets used to it. And here you have a hand that it's far away, farther away from alphabets, realistic hands like mine, but it is a pretty simplified, cartoony hand. And if you want to add some knuckles over here, you can even add them like dots. And here you go. 20. Lesson 18: How to Draw proportions when posing the character: Hello there. How are you doing? I hope you're enjoying the lecture so far. And I'm very glad to get a very positive reviews from many of you. And I have got some questions from some students who have asked me, how do they measure, how do they go about when they draw character and the draw proportions. Now, I have shown you one way of drawing the character and measure proportions in one of the last lectures, I'm drawing cartoony characters, but I can understand that. It can be challenging when you do that, when you draw and you want to pose your character in different poses. And you don't know how to measure proportions from different sides or from different poses. Now there is no exact way to go about. It's basically a lot about practice. So even very experienced draw on the very experienced artists. They need to practice a lot to be able to get this right. And I know this because as an animator, when you start drawing something, when you start drawing a sequence of animation and you're a beginner, at some point, your character is getting smaller and smaller and smaller, or bigger and bigger and bigger. It means that you have unbuilt up this sense of proportion and yet this sense of how big the elements are to each other. But I'm going to show you one simple way to go about for when you draw your characters. So let me go, let me start with a jaw with the elephants. And so if we have a headlight gut, again, I'm using this principle, just draw roughly many circles and you see a one specific circle for me. And we have one smallest circle for the body, like belts approximately. And let's decide the line, the middle line of this character around here. And let's decide the line, the eyeline of the character over here. And let's decide that this point is, and the characters trunk and go about and draw many, many more. Just draw some, some circles to define the trunk. Over here. And again, two circles, four feet and 21 circle for the arms and legs. Again, define the middle point of his body here. Or well, get his eyes approximately on each side of this middle line here. Of this middle line here. And let him look at us a little suspiciously, what are you doing right now? What we're going to doing to do to me? Well, we're just going to teach people how to draw you a little animal, elephant. So, oh, really, Well, that's fine. So let Kathleen smiling. And let's draw the ears approximately here. And just two circles the way I showed you and the lectures. And now let's define his arms here. And his ears, and his feet. Just define the feet where the circle S. And now, if you follow the lecture so far, you will be able to draw this Alphand pretty nicely in pretty quickly. So we can just define it with a black pencil and see if the final character and his eyes here and his trunk over here. And use the other, I like that. Just roughly, you know, this exercise. Well, that's the thing that when you draw this elephant over and over again, and you will get the feeling of how, of how big this elephant is. But every time you draw a new character, you will, you will face a new unknown u. This character will be new to you. This is something like, I can compare it. Two. For example, for women, girls or when you put out on your makeup, you know the first time you decide on a style you put on your makeup, your eyeliner. You know, you don't really know how to do it. But the more you do it, the more you know exactly how your eyeline is going to be. The same for guys. Maybe if you do a same haircut or same shape, you know exactly how to do it. It's pretty similar actually to just feel the proportions. So how do you measure next time you draw this elephant? Let's say you wanted to elephants to lean forward. And then in one, on one leg. The thing is that what, how you measure proportions is basically tried to approximately measure how many times this does this arm applies to the body. We can even measure like that. For example, if you take this measurement here and you apply it one to n a little bit. It can be confusing, but approximately try to match the times, how many times certain body part applies to the body or to something else. Like for example, how big is this arm compared to the feet? While it's almost as big as, as the feet. So if you want to have an elephant, let's say making a pier, right? Let's start from the body. You see that the body is approximately this size, so you measure it approximately like that. And because I've drawn this elephant many times, you see that I've already drawn the circle pretty correctly. Now, you want to draw the head and the head will be leaned a little bit forward. Which means that there is a perspective change. This head, besides that, the head is bigger than its body. So what you do is you measure how many times this his body applies to the head? Approximately one and a little bit more, not exactly two times. And now because there's going to be the head is going to be tilted forward. Just make the head slightly bigger. So if you measure this proportion, just make it maybe twice as big at the head. So maybe around here. What does too much? Because you will have such a big perspective if the camera is a wide-angle. In a wide-angle when you see these salts Shelton really broader, wider angle where you, everything is exaggerated in perspective. But in cartoony characters, if you draw a character that simulates, that is kinda of a real, real life, real elephant. It's not going to be just as exaggerated. So let's give it maybe this volume like that of the head. And let's have his arms stretched out. Now, this arm is not going to be seen. Now. I'm going to tilt his body. I'm going to make his one leg here and one leg here like a pure white. And I can mark it a little bit like with short lines like that. So what I'm going to do basically assumed that where does this arm as well? Where is this arm, according to his body, while if I if I assume that his head is here, he's health head is tilted forward. Maybe this arm, his shoulders are going to be like approximately here. So I'm going to approximate. That's the thing we're drawing one, you'll learn how to draw this cartoony characters. They're chill things you have to do next. To pose them in different poses. You'll have to learn about the poacher, basically human, how you humanly posts something. And this you can do by observation. A lot of drawing of humans. This is something I have made in one another, in another lecture, drawn like figure drawing or how to draw humans from wives. Because to notice different poses, you'll need to be a observance of human body and human mechanics. But anyways, so if his shoulders are here, then you measure approximately where his arms are and they're going to have our perspective change. So so you'll hear, you'll have to approximate and you draw one arm here is going to be behind the head and another arm is going to be here and you're not going to be able to see it. And the leg, if we assume that the stomach is over here, the leg is going to be one leg is going to be on the ground and in other leg is going to be further away in the air. And here you measure the approximation of the arm and towards the leg. So if I say this arm is so big and it's going to be approximately the same as the leg. But because there is a perspective change, this arm can be a little bit bigger. Perspective change, it means that the arm is closer to us than the leg is. So they're going to shift a little bit in size. That's why I mean that exactly these changes in these proportions are not as important at the moment as the way that you get. He used to draw really, really roughly drove fast disk characters. Because when you learn to do that, the next thing you do to get the size right, it will come naturally to you the more you draw it. And that's how basically artists do it. So again, how do we find the ears? As I come, as I've talked in one lecture, you find approximate the distance from the ER to the eye considering the perspective changes. So if we have, if we have approximately a tilt like that and we have the big over here. This means that this ear next to the distance from there to the big is approximately the same like here. So we're going to have at approximately here, just measure whether your pencil and place the year. This right, like here. And here. What do you measure? How you measure the ice is here, you compare it to the beak or to something else. You end because there is a perspective tilt. They are going to be slightly bigger here because they are closer to us. And now we draw a lot of other spheres to form the trunk. Not the big. It's not a bird. And here we have his eyes saying, wow, you did well. And the mouth is not going to have done the chin because the head is now tilted downwards. So we'll have his mouth here and we'll have the other year being behind his health. Now as you see that the head copy allele for a little too big for this character. But as you see that the proportions of this character is always related to the size of other proportions and not the size of this character. Now this character here, it looks a little bit bigger than this one. But the proportions of his body are related to the size of the character. So this is always that you have to consider. It's not always the size of the character, but the proportions according to the character that you draw at the moment. Thus there, that's how they have to be proportionate. It's like you have in yourself in a picture at a distance, or you having a seven and picture closer to the camera, you'll have different sizes, but the proportions of your body will be the same no matter how close or how far away you are, It's going, that's going to be considered like perspective changes for distance. And now let's draw the mouth here for this elephant and the ears like that. So what, how you find the right proportions is number one is practice. Number 2 is to find a supportive lines for this kind of drawing, measuring proportions from one size of the arm. How does it apply to to some other parts of the body? And considering plus the perspective changes. So, so now you see that this elephant is kinda making a period. We can add his arm here and the other one just to make a nice silhouette. And here, as you see, one leg is much smaller than the other leg. Why? Well, because we have to consider the perspective changes. This leg is further away from us and this leg is closer to us. There is actually no other way of doing it. If you place your character in different pulses, you have to make a judgment of how big the proportions are in this thing. This thing comes when you've drawn a lot these days, demands a lot of exercises and a lot of drawing to get used to it. One thing you have to know is that the body is smaller than the head. The feet and the arms are approximately the same size, where they are positioned according to the body and where they end according to the body and just measure the proportions like doubts. But considering the perspective changes, some, you can play with the sizes. So if something is closer to us, make it slightly bigger, it will give you more life. It will give you more correct perspective changes. If something is further away like this foot, make it slightly smaller. And if you do character that is more alive and that has other poses. They're just standing elephant and just standing pose. I mean, then it will be more forgiving. It doesn't matter if you, if you maybe draw it slightly too big as likely to small, people will accept that. There will, you, viewers will like the drawing and then we'll accept the perspective changes that you have given them, even though it might be slightly off of size. So I hope, I hope this advice was useful. And, and just keep on drawing people, keep on exercising. And it after a while, you will not need to measure things like that. This will be built in your system and you'll be able to grasp but to see it right away, to feel it in your body. The movement and the size and so on. It comes with practice. So that was a little extra for me. I hope you're having fun and have a great day. Bye. 21. Lesson 19: Draw a Fox using a digital tool: Hello there. Now this is some extra tutorial wherein can show you how to draw a little fox. And I'm going to do this tutorial digitally to show you that this is also possible, but it doesn't have to know any digital program to draw doubt. Just use the pencil shown before to be able to draw anything you want. So first, just draw one circle for the head and find the middle line of this head. This is where the symmetry is going to happen while you're gone and place the two eyes later on. Then draw where the body is going to be and the body after spoke is going to be a little pays more longer. So you draw an oval shape instead of a round shape. This box design is going to be closer to the photo-realistic Fox or to the real fox. So it's going to stand on its own. It's four legs. Now, draw the legs as well as just with some lines, note them out and draw the feet. Oh, it's slight oval shapes. Try to find where the analysis is going to be and the nows is going to be placed a line just draw very roughly and drove away from blue pencil as shown before or, or with a gray pencil. In this digital program, something done, you will feel it's temporary. And then you can draw the ears. Now plays the eyes of the folks. And now you see how quickly you can shape and the folks already. And now let's take a black pencil and let's create another layer on top and just start drawing the fox, the clean line of the folks. If you're not a US to digital program, this is a rather difficult and actually people who were actually used to draw in digital program find it difficult to use to use pen, pen and paper. The old-fashioned way they just think they're hand is on the way. But I'm drawing digitally. I'm drawing with a synthetic because I find it difficult to draw to draw on a walk on, but this is depending on how you're used to. And if you're a beginner, it doesn't matter what you use to. You can use a pencil, you can use a pen and a paper. Anything you'd like to, to have. So just shape, just follow the outlines of what you've drawn, the rough lines you can go for from bank until you find the features of the fox. So just finish up that. And as a final features, you can even color and the folks and undoing the digital color, just color it and unrefined some features. You can delete and refine some features. You can, if you're drawing with a pen and paper, you can redraw it to make it even better on top of the lines that your, you've already created. So there is no the amount of drawings that you can do and say, Well now I'm done and I'm not gonna do this again, the more you practice, the better you will become. So now you have a cute little fox as an extra tutorial. I hope you enjoyed this lecture and see you next time.