Figuren entwerfen, die Geschichten erzählen | Leo M. | Skillshare


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Figuren entwerfen, die Geschichten erzählen

teacher avatar Leo M., Story Artist at Walt Disney Studios

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

    • 1.



    • 2.

      „Linienarbeit“ Ansatz


    • 3.

      Inspiration aus dem Leben


    • 4.



    • 5.



    • 6.

      Thumbnailing deine Ideen


    • 7.

      "Line-work" Rough Pass


    • 8.

      "Line-work" Final Pass


    • 9.

      Letzte Gedanken


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About This Class

Erfah, wie der Künstler und Regisseur Leo Matsuda Figuren aus einer Storytelling entwirft. In dieser 10-Teilkursesserie lernst du, dass du Lektors Ansatz zum Design interessante, einzigartige und einprägsame Figuren lernen können, die sich auffällt. Fokussiert dich auf die Forschung und die Entdeckung, wie dein Gedankenprozess zu einer ansprechenden und komplexeren Figuren führen kann.

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Leo M.

Story Artist at Walt Disney Studios


I was born in Brazil and grew up in Sao Paulo. I attended Cal Arts, interned at Pixar and then lent my talents to The Simpsons Movie. I joined Walt Disney Animation Studios in 2008 where I began storyboarding on Wreck-it Ralph. Most recently, I was part of the crew that crafted the story behind the Academy Award-Winner film Big Hero 6. In my role, I was responsible for visualizing and interpreting the director's vision from script to screen. I worked closely with the director, story team and writers to build the structure of the story and create an entertaining film.

Check out more of my work on my blog and my story portfolio. Look forward to many great stories and designs!

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1. Greetings: Hi, everyone. My name is Leo Matsuda. I'm a storyboard artist and director, and I'm currently working at all Disney Studios animation. Um, I love telling stories. Um, I consider myself a storyteller, and I find fascinating when they see characters, uh, there, well designed but behind the design there is a soul. You know, I find it fascinating to see drawing to tell me a story, and I think for design is the same thing. So for me, design is not necessarily just the well designed shape character really, like interest in shape or, um, form. I think the design really comes from character from the story behind it. And also, I really would like to enforce in this class, uh, your talk processes. So it's gonna be very important for you to think a lot, you know, before you put your pan in the paper. And I think that's more like the second part. So we're gonna jump in tow in our I feel like our first part is, 80% or second part is really 20%. And I promise you this is going to really help you toe build things that have more depth and complexity. And for a time in this time, we're gonna be drawing a situation. You know, it could be, uh, anywhere like in a Starbucks in a club, in a coffee shop, in a Wal Mart anywhere you gravitate towards, you know. And the goal is to have these two characters. They're very different personalities, and they're having some sort of dialogue. And through that, we're gonna see their characters emerging how they interact with each other. No. Are the laughing are the being a jealous of the Children are day screaming at each other and or are they on breaking up? You know, anything that you find interesting. And I really recommend you to come up with ideas based on your environment. So I'll say really goal and observe the world around you, and then you can start thinking about it. So we're gonna be mostly, um, sketching it by paper first. And then we're gonna jump in tow the computer, which is the last part of the process, and I'm gonna be using your photo shop. And I hope you all for Mueller with this software is a very simple self burning. But I believe a lot of people these days use. I feel the first part would be mostly doing sketches, as you can see here. Really rough. You know, Ruff's catches will be just mostly exploring. So let's keep the class lose, You know, you know, just your talk processing ideas. You can't even write things. You don't even have to start growing regularly. So, um yeah, and I'm very excited to see all your guys assignments, your store talent behind your designs. And I'm sure they're all gonna turn out unique and wonderful. So really, see that from your own life. And I promise you that something very leaks gonna come out of it. So thank you so much. And I'm looking forward to meet you all. 2. "Line-work" Approach: So, uh, we're gonna talk about line work approach. So I'm calling in line work, which is a representation off pen and ink. It was the technique I really love using. And I want to discuss a couple of artists that also used this technique. So great station exaggeration. I'm gonna talk about the director, Chuck Jones. So as you can see here, he has very strong, uh, shapes, you know, and and very clear staging, which is like, how the clarity of the layout. Or see how you can read everything to seal it off the characters, the witch and top. You know, there's this very straight line, you know that really, it's very clear that she's dragging Bill of the character around. Also expressions to go down. You can see how expressive the expressions are. Here's a couple more examples off off his characters and concede expressions. Push. They are. And they're very specific. As you can see, you know the show. Frustration, show pain and below you can see opposed. It's very extreme, you know, this is still very rough stage. You can see here how everything reach so clear and so gestural of same time. So uh, this is a graphite drawing that in love and staff IGA, which is character. We all are, uh, knowledgeable ball, and, uh, you can see how strong it is, the polls once again, you know, And the peel off the lines and the details expression, everything, once again strong. Still it, you know, a couple of examples. You can see everything read so clearly. And that's something I would like to be exploring on character designs in all these elements and reach your character designed to make them look more appealing and clear and bold and even fun, you know, So as you can see here, expression the pose, everything makes it, uh, it looked hilarious and so clear. No. So right away you look at it and you can understand what's going on you. And so you see, it is beautiful line coming almost a narc forming between the characters, you know, and you see the grim in the faith of the off Jeannie. You know, that comes out of the mirror, And, um, and that the horror of the girl that's so clear and it's it's such a beautiful drawing. And and there's so much appeal to it as faras caricature Gonna discuss all Hirschfield and Norman Rockwell. You know, they're like chew artist their masters on that. And here's an example of Norman Rockwell. And when everything is so clear and it's like a storytelling painting, you know, right away you see what's going on. You know, you see this kid train glasses and just see the expression to kid not really enjoying it, you know? And uh so everything is This is driving her, I hear Chill. You see, there I directions in local neck connect right away. You know, clearly you read you know, this kid just singing and his all has been all very Jonte and and jolly but little annoying . And you see the girl covering her eye are years, you know, and so everything. And you see the guitar pointing right in her face. So you see this triangle for me The guitar forming, destroying with its points traded to her. So the dog it's looking to the boy everything is is leading toe where he should look at. So that's how important staging is when your beauty in your vignettes another example Chu ho clear everything is how everything is pointing towards the girl and the roses, you know, here is extremely clear. You see, this girl? She seems a little bit of up, you know, a tough kid, you know? And she has, ah, black eye, but still smiling, you know, and you see the principal's office and you see them staring at her. And so everything reads crystal clear is almost like if they're trying toe, um, exposed to the audience And look, that's what it should look at, you know? And this is what makes it read so clearly and they're so smart and clever. And there's so much personality, his paintings here see you. Even though you don't see the kid's face from the front, you can really see capture a glimpse off that he's not really happy being there. This is all Hirschfield, and you can tell how wonderful his ah caricature approaches. And it's interesting because he doesn't actually, you're off for, uh, you know, to express himself, you can tell that they're all symbols and its symbols end up creating this caricatures. So everything is a symbol. Either the ice could be replaced by spirals or the hairs or just kind of springs you know and what Everything is so clear and you, you look at it any of these characters, you know where they are right away. And, ah, that's a clear mastery off desire and you, the usage off shapes to convey eight years. And I think that's brilliant. And I think that's what it's trying for toe. That's how. If you will care, character design should be. Should be. It's a representation reality, but you don't want to just copy a rally that way. Looks like you want to kind of interpretation and come up with your own point of view off something. Here is a couple more examples and off our Hirschfield. It's so clean and appealing, you know, and you can see what Aalen and you can see how you know everything. So chest row and the lines are there's. There's this areas where a lot of concentration of lines and others you see, uh, or the absence off lines. And this kind of just a position off usage, off lines and symbols is what makes the pill for everything so we can jump to entertainment value and that it's what I mean with storytelling. So these illustrators Ronald Thorough, which is a British illustrator, and John Jackson P, which is a French illustrator. There Bulls one of my favorites, and I always see a lot of personality and start telling coming from their illustrations. A za can see here in the book Illustrator Wind Speak. It's just wonderful. It's so funny to see the pose of the characters and all drunk kind of that way they start behaving so ellipticals way. And there is such an appeal as far as the way he designed his characters, you know, here is the same, you know. You see the treating girls and you see how he designed everything and how used composition in station. Even this dog so funny looking you. And you see the old lady not too happy, you know, and the other kids air are just kind of annoying. Her and each one of these kids have a different expression here. You see, the streaming girls they are really causing a mask and when they're really ah, uh, you know, taking down their teacher and the wonder one in the back is cheering up, you know? So it's just really funny, you know, there is a very dry sense of humor, but which I really relate. You know, I find it really amusing and I very clever. And besides, the fact that the pew of destroying its so appealing so the the shapes that he users are are extremely Pillay. So you can see every single thing here telling a story, you know? So he was traded from, uh, magazines, as can see here to New Yorker from even this amazing Cats, which it It's a very his trademark. He draws a lot of this interesting shape cats, and and you can see their personnel this spring from a page right away. So it's very interesting. His approach was, as far in his line of work goes, and it's pretty much just a line kind of, uh, pen and ink on Lee approach. And that's why I called line work causes artists mostly used pen and ink, you know, to get a result. And I would like toa show demonstration of how approach using this technique, this is ah, hilarious vignette. You know, where CDs, lady, the barbershop just takes off, uh, her head and you can see there's just a mask, but it's just the way he designs everything you know. It's just funny. That is just a had. And he probably just replace her head, you know, and it's a simple idea, but the way he executes it, it's brilliant here, Eyes in order artist, which the one we mentioned before John Jackson, Paye and he's Ah, French illustrator and he was expelled from from school. And then he could never get a job either post office or retail in a. But then he end up kind of having to deliver, uh, Teeth pounder, and eventually he he end up getting a job is illustrating, but usually these guys that have a lot of they go through a lot in their life. So they have something to tell you about their lives. And those are the ones. My opinion that have the most. The richest are because they have stories to tell, you know, they capture everything from their own memories and and until they leave their lives. So this is a very charming paintings, and you can see there's details going on everywhere, and he remind me a lot of this, um, filmmaker called Inject a teen where you, you you can spend a long time just tearing it Every single detail that's going on, you know, it's so rich and everything is telling a story. Ministrations as the one you see on the left corner. Left bottom. You see, this tiny guy is tearing at his, uh, painting, you know? And while you see this crazy ah, Ko is going on around him, you know? So, so much story County, you know, And, um here, like in order art. Is that also a simply Anna? He's another one. Besides, well, so Dad actually contributed to the New Yorker and, um yeah, just desert one. If it's so clear read, you know, and there's so much appeal and sharp to his pains. So this is all for, ah, for this section. You I hope you're really able to absorb ah, lot of the things I point out, you know? So we're going to be trying our own version of that eventually. You know, you are ah, lion work approach. So or it is gonna be our chance to try to evoke this artist you know that are so inspiring . And and they're so, um important for or ah, for our world these days, as illustrators, they last a legacy off incredible work. So thanks so much. Everyone 3. Inspiration from Life: everyone. So now we're gonna go to our next class, which inspiration from life. So in this class, um, I would like to really, um, bring the point importance off observation and seen things around us and, uh, go all there and explore things. In fact, leave your life, you know, find inspiration from life. And, um, you know, I before I e you know, I started before started putting our pan and a paper. I think it's very important for us to think, you know, and, um, now is the time to think so. I came up with a couple of ideas. I would like to be exploring this assignment, you know? Ah, Coop, a couple of vignettes that I'm having my mind, you know? And I came up with five. And you you can come up with his money. Many as you, I would like, you know, it's completely up to you. I would say from 1 to 10 ideas. You know, you might have I came up with four ideas, You know, that I would like to be sharing with you guys. So the 1st 1 it's, you know, in and out. Uh, I gold and out from time to time. You know, it's not the most healthy food, but it's delicious. I really like, you know, and something we just have here in California. And so I really enjoy going there, and I want once in a while and, ah, the other day I was there, I saw this very interesting thing where I saw this, um, kind of like tiny, very tight, kind of bossy man, you know, he's very tiny, but was very, um very over to talk, agitated, you know, when he felt he felt really in control, But it was a little hysterical, you know? And you can tell there was this need new guys kind of like an apprentice. And he was very low and and very clumsy. Very enthusiastic, though. I know. But he's seen very slow in the little, you know, um, clumsy. And that's maybe why the guy was so mad at him. He was just And it was a very busy day. So maybe you just he was just kind of out of his element. And Ah, So here is a couple of pictures I found online and are just trying to see, you know, if this is a potential video. I want to Hey, you know, or draws like ah, that's where going to get my inspiration from. So is looking the location How they wore a holiday dress. What kind of people work there and Ah, yeah, it just it's hard to do things for more memory. No, it's very important that we always look for reference because that enriches and makes things more specific, you know? So that's a big part of exploration research. So this is one thing. Yet the other one is, uh, is this vignette that one explorer about Ah, you know, old ladies, You know, I find there so many old ladies these days, we dogs. You know, I everywhere boys see an old lady with the dog and dogs. They're so excited, you know, because, uh, they're the ones they're controlling the ladies and not the little ladies And the ladies are kind of like a believe yours. So the dogs air just taking them And the dogs, they're super happy because they can do whatever they want. No. And I find it really funny because they don't even realize with the dog they're doing you. They're just very sweet old ladies, but they they don't really realize, You know, uh, if the dogs are misbehaving or whatever you're doing, you know, I thought it was really funny. So this is an order, Irving. I thought, Wow, that could be a funding, dear. You know, uh, then my idea number tree, It's I I was thinking about my friends that are all getting ah, there. Understated, just got married. And they're having kids now. And some of them are having one after another and and they they say they tell me they're really happy. But they look really tired because I feel it's it's probably a lot of work and they don't get too much sleep. And even though they're happy, they look really tired. And I thought that that was really funny. And that's something everyone goes through some point in their life. It's gonna have kids, you know? And I thought it could be a funny idea toe execute, you know? And so I got all this reference. You know, uh, that I thought they were Easter. Interesting. If I decide toe toe to draw this idea to execute and my fourth idea, it's based on the idea. There's so much these days. People are talking about being vegan or vegetarian, you know, diskette, Terrian or or all I I I or like this people there concluded extremes like, I'll screw that. I just I love me, you know? So there's all these different sections of people. That and I'm not saying ones right was wrong. I'm just saying it's something that's very present in our society these days and and Facebook. You see this teams every day. You know, people were just talking about, like, eating. If you kill lying, you know, how come you cure calling on and I feel those are all relevant. I don't want to get in tow a personal level here. Just feel it is something that inspired me to come up. We don't art you know it or come up with an idea. I will be finding to draw something related to that. So, uh, and then I was thinking, Well, do not cause any ah polemic. You know, uh, why don't they just draw like, ah, creature, you know, like movies to creatures. And they're extremely different from HR journal. Ah, just to keep up with that with our a Simon, which has come up with Chu character. They're very distinct from each other. You know, I'm having an interaction so you could have, Ah, one of them. They could be like a carnivorous, plant inspired character. I know. I think there's a really funny they have this very property feel to it. And really nice callers and design. And there's Harry monkeys. You know, I thought it was so cute and really funny looking, you know, or even Ah, there could be like Bigfoot, like creatures like Shabaka or even the one that the first Bigfoot picture that I find. Even though it's the hoax, it feels really fascinating these days, You know, I find it, Uh, this is Ah, I love going back to this cheesy source sometimes because it really sometimes people ask, Where do you came up with the idea from? And I'm I don't say because I'm ashamed because I got my reference from the The cheese is, uh, image, you know, and I thought that there you could come up with something really fun based on that. So this is my exploration. I hope that was helpful to you. So now you can jump into your Irving at and ah really explore your possibilities. Observe your environment around you and ah, and then come up with characters. They're really fun. Thanks so much. 4. Research Exploration: So in this face, I would like you to think about what kind of resource You will help you develop this designs. And so what is it that you want to use? Is it books? You know, Is that what you're gonna find expression from books from Internet, or like through any sort of, like, media like film or anything, Really, Or riel life. What would be those, uh, resource that you want to utilize? No. Well, you would like to go out there and explore your world, uh, observe things around or is it like, something you have in your memory? But it's always to be good to be specific, you know? So it could be like any sort of books, Internet, a real life. So I'm looking forward to say we're going to come up with and thank you so much for listen to this class. 5. Conclusions: So for my first idea, you know, which is the in and out idea. I really thought about Chris Farley. No, like this oversensitive. Ah, guy, you know that. It's kind of like clumsy, you know, But he's kind of like Jolene Obey that same time, cause a lot of trouble and asked, Ah, as the manager guy, the tiny guy off course has to be a niang gree Rick Marini's you know, as you can see there. No. So I felt that there were really great opposite kind of characters, you know, have a very It could be a very good dynamic between them for my idea number chewing on my reference. It's I remember seeing this be doing YouTube that this jerk I was, uh, run over this old lady. No. And then the old lady just kind of throw her person to the front of the She hit her purse in front of the Mercedes, you know? And they are Bag just came out and the guy got when you deserve, you know, But he was like a jerk. Uh, and don't get me wrong. I need for having Mercedes, but, uh, you know, for some reason, associate Mercedes with jerks and soul. You see, here, just Mercedes Benz jerk dude. And this old lady is going to be very believe, use. And maybe her dog is going to kind of do something funny with this guy. So I was just thinking of all this, uh, contrast between the sweet will believe his old lady Versaces Mercedes bands, jury duty, you know. So that's my second idea. My third idea. Uh, it was the one of the tired father. And so I was thinking about Louis CK, You know, he's one of my favorite comedians and he always talks about his, ah, his daughters and how higher he got sometimes, but still his aerial. And it's such a loving father. And but And I was thinking, This does this asleep the private and stressed out father. And you see, it is extremely annoying and energetic kids to contrast with his father. So one of the kids, a jerk like water his pants and write his crotch daughter, want to skip screaming out of his lungs and daughter and just paint all over his face. And so all kinds of situations, very, really. You know, this guy's already tired, and it's kids just making his life even more hellish, you know? So and my fourth situation, I picked fourth. Reference was this constant? Was the creature idea, the wonder vegan known Viggen Kind of like that idea, you know? And I was thinking you could be one of the creatures. Could be this skinny health conscious do it, you know? So he is very He wants to the right, You know, he goes to the good years to eat healthy and all that. And so you see this Nor Norman. Rock opinion is very females, and the other one's a careless, overweight dude, you know? And you can see in the in the in the picture is just riding a motorcycle, just a riding completely the opposite direction. Traffic. And, uh, you know what is still kind of like a jolly fellow? You know, so does their mike. My conclusions, you know, and I'm looking for seniors. 6. Thumbnailing Your Ideas: So this class, based on our conclusions, you know, we can start finally, uh, executing or thoughts and, uh, nothing how? Executing something in the quick the quickest way possible. So it just can get it out of your head and doesn't have to be anything fancy. Just something very simple that I get the idea. Cross really captured the essence of what you're trying to say, you know? So I call it a toenail, and someday was something you're not gonna get attached to. So it's just a great way to start, you know? So here are the toenails off my ideas. Soul, my dear Number one. So just to recap is the in and I'll idea, you know, And I was just looking toe my reference. And on my two characters, they're like, antagonistic to each other, knowing there's this one. That's the oversensitive Chris Farley dude and the angry Rick Maroni's. And ah, this is kind of what I came up, came up with you to see this tiny guy, and he's just really mad at the all the overweight dude, you know that it's very geeky, you know, very clumsy and causing a lot of trouble and my, uh, second idea, it's the one of the old lady. No. And to recap you, it's the sweet will believe is elated versus the Mercedes band jury duty, you know, And, uh and then you can see here I came up with the Mercedes, do it on the left, and the old lady has a bag of poop and her York shire just humping his leg. And she's just so believe, just like you know, he likes you. Me, sir, you know, So she just kind of like she believes about it. But you don't feel sorry for the for the Mercedes bands, dude, because he's he's a jerk, so you can see the Laval off roughness and all those drawings. You know, they're extremely rough, and there's no is just to get us. Ah, idea, cross. But you already got a sense of the store talent going behind it, you know? So, uh, my third idea that I did was the one of the father, and that is sleep deprived and stressed versus extremely annoying, energetic kids, you know? And that's kind of like the drawing I sketch had come up with the tub male and you see this father, with all this, carrying all these stories and Victoria secret stuff, you know, all this stuff and the wife is already pregnant and waiting for tweeds. And you see a bunch of kids I had even you. So this guy's soul tired and stressed and he is just kind of like thinking again, you know? Was it a good idea to have kids, you know? But in the end, it always is, you know, But you can tell how stressed all his feeling, you know, And they did. Number four is the idea. Just to recap is the cartoony carnivorous plants idea no mixed up with with the Harry monkeys and knowing mixed up with, ah, Bigfoot like creatures, you know, And then also talking about this skinny, health conscious doing versus the careless overrate. Dude, you know, and that's why you get so you see this type of a vegan monster And he's very healthy but very skinny. And the other one is this kind of lob human eating monster knows, like, all kind of careless and, you know, just wanna have fun. So this is the final kind of, uh, Tomeo. I can walk away So you see one of them's the eating lattice or whatever daughter one is eating people like as if there send additional one has a forehand, smiles and when human is apple in his mouth. So you see these antagonistic characters from the get go. So these air just thumbnails that as a sad just to explore your ideas and so you can start it out of, uh, some kind of thought, you know, behind it. So I'm am looking for singer thumbnails, you know? And I hope you enjoy your due process. Thanks so much. 7. "Line-work" Approach: Rough Pass: Hi, everyone. So now we're gonna jump to the execution. Uhm, I'm going to start with a very rough sketch off the off the idea fourth that I pick, you know, And it's the one with the monster. As you can see here, um, this is the thumbnail that we that we worked on fuel feel pass a goal. So as you can see here, it's a very rough station. So I made a lot of choice, you know, coming from this stomach, for example, I decided I'm not gonna have a table. So, you know, going to see this human right here with an apple in his mouth and you're gonna have a little more like, ah Wieters pace, you know, for the station so you can see all the characters. So I just gonna hide this catch here so we can start working. So, as you can see, I have this later here. Doesn't really I just Structurally, nothing as you can see here is justice, fear, and and, um, this one is very skinny. And there's one is a little more overweight because this guy here just eats a lot of a lot of a lot of meat, you know? And, um, it's a lot of humans. So you got really fat in his other guy here on the country. I want to make him in a diet. So is in a known nonhuman diet, which is like a small cat, his and his ah, small cat diet. So he just mean it's small cats. So So let's start drawing. So, um, so I have this structure on the bottom, you know, so I can go ahead and start, um, you know, drawing. So maybe can have a couple more eyes here. So and previous, Throwing out a night on his forehead, it's gonna be a north. So also, we need to keep in mind the research we did right. And we always go back to that. You know how the carnivorous plant, you know, and they're so remember the carnivorous plant had some kind of mount like days, you know? Right. And I want to keep this kind of mobility kind of feel off the mouth and ah, of course, this guy is going to be different, but at least he's gonna have the essence off a carnivorous plant. You know, I'm a pretty carnivorous plant So we have some kind of I would say like he's a little like , fatter And he has. It's kind of like it a Bigfoot mixed with carnivorous plant, you know? So it against you here, see his big mouth, You know, maybe there's some wrinkles, and that's also keep in mind all this stuff that we just costing about them. It's still wet, you know, does make sure the staging is good, you know, like clarity between stroke characters. So it's gonna draw his horns, you know, so we can make like little. The horns could be a little more rounder, so it's a little kind of cuter. No, not as scary, kind of more like a whimsical kind of creature so they can go ahead and throw his fit. You know, I have a very point, your so let's skip it, lose chewing on the way. It's catches very lose. I don't really like to make it various leak. I feel you lose the vitality, so I love as they approach we saw from Ronald Searle and and simply there's there's a looseness to there is catching on. It's very keeps his vitality drawings which I lost and I think that gives a lot of people to the drawing. A lot of times when you clean up, you lose a lot of the you know, your fuel. So maybe have one arm here, you know? So this is just a rough past. So of course we can kind of work from deals we can embellish, and we as a goal, we keep keep on shaping. And it was almost like a sculpture. So that's why is good toe Have the idea really locked at this point, So you don't need to make, um, any decisions isn't your idea. Your d is already, um, picked you. So have you can make, um human. You know, these guys about tweet a tiny human you so maybe the Yemenis she's but here his the humans terrifying. So it's a very losing tiny drawing. But you can get an idea what this guy is, so I usually tend to drawing in gray lines and because for some reason, when a drawing black, it's too dark for me. I lose like them. I like the few of graphite. You know, I just feel gives me more control, but it's that's upto everyone. You know everyone has a different approach. Whatever makes you feel comfortable. So this is his tail Sure is very dimensional. Rebuking Qiming shirts. It's very like for you do it kibalko And it was very Fourie Anders Harris sticking out. It's like you give us an appeal to his like when you see the Muppets know they have this felt kind of quality. This feel this for a kind of quality, that it feels very cute at same times. A little can be a little scary, but it's but it's sometimes very women's according in appealing you. So it's not just creepy, creepy most you know, So his nails is it in a bid to fit in? And yeah, I like putting a lot of like little scratches, and I think he adds a lot of personnel or whatever. Same as like, you see those illustrator the run of sorrow. They have a lot of. There's a lot of line Mount Mylar, Gino and off course. You need to be wise and how to use them. But their wives, they're just gonna feel BZ nor your drawing. But you can really help toe give more character and appealing to your drawings. So this is our here. Here. Maybe you can even do like he has another arm. He's holding another human. Could be a chick. Yeah, her boobs. It's terrifying. So dinner her legs and you can go away and, you know, I know zero me. And if you want, you know, if you want to kind of work on details I like sometimes to keep a little more losing you don't need toe. Sometimes you don't need to flash out too much. Otherwise it he loses the charming, your drawing. So let's get to this stage here, and then we can start polishing the other guy. So this older guy here gonna make the nose a little longer. Here's a couple a little more less. He's a little more, uh, kind of like a tight, you know? Then the other guy, the other guy, just like whatever, man, I just want whatever I'm happy with, you know? And you just eating whatever he wants. You know these guys a little more. Careful what you eat. And so I could be happy. Little I hear there's a horn. So they have the same structure and under the same type of creature, but one is very skinny. The other one, you know, it's careless, so it's a little overweight. You can see here can going at the before of this guy. This guy's skinnier, but his for a change It looks almost like a mustache. So this guy Chu has pointy told me over has there's a wrinkles in the fit, you know, a little more square. I like contrasting, Seen, contrasting, like sometimes don't not as around, but it's, ah, curve against straight you So it helps with the fuel, you know? So instead of drawing everything straight or just curving your contrast, we curves against straight, you know? So the master off that kind of approach was meal call. He was uncredible animator who had made many of the classics. Yeah, he made it. Peter Pan, you animated. Um, but then Medusa, you know he's you. He really explored straight against curves battered in anyone some contingency years. So this is stale. You cannot some details here, So and this guy here gonna be a holding tiny little katten. So you see this finger here? Maybe we can also I feel it's a little tight here now, so let's That's still a little change here. It's moved ahead a little higher. So now we're gonna have a little more space for the hand right here. So we have his fingers, and maybe there's a tiny little feel lying here really tiny sorry for the cat lovers. You know, if this is just a joke, so don't I love cats and don't take me wrong here. It's just a little joke, but because he like last meat, I guess you know, he he got in a better shape and the other guy who just keeps eating fat humans, you know? Yeah. So maybe you can even hear them under here, here. So this guy has, like, structure of, like, two arms, and for they have four arms And, uh so and they're very hairy hair coming out. So there you are, guys. So this is or ah, his or, uh or creatures, You know, like this guy here is unknown. No human meat eater. And he likes he's his diet right now. Is is all based on small cat and gets older guy. Just it's all humans. You can't do it. And so this is this was a D. I gravitate towards, You know, like toe do like a line kind of light work approach past. And I felt that way because it just felt there was more appeal to the idea to me. I am really looking forward to see where you guys are gonna choose toe scratch new. And I hope you enjoy this quest. And now for next glass, we're gonna go toe, um, final passed on or rough. Actually, I'm sorry is gonna be Oh ah, Second pass on on the rough path idea and they were going to go to a final one. So if you guys an X class 8. "Line-work" Approach: Final Pass: Hi, everyone. So now we're in Orem. Second pass for line, work, approach. Um, so as you can see, here we have a little more flashed all version. No off from or previous one. Um, you know, I just went through, like, a darker line, you know? And now we can start flashing it out. You know, details that we wanna be more clear, you know, uh, throwing some cooler, you know? So that would be great. So here, for example, consuming. I want to keep it pretty lose, You know, um, but maybe this cat here is very rough stealing a soul. I might kind of just play him, William a little more so we can go in there. I don't know that there's another layer here. Chu So on top of leaders, too. We're gonna go ahead and start drawing. Can't hear No. Mine's a little blurred because it's blosil mean, but no, it can be very own cartooning. We don't You need to tow draw chiming much detail because he's gonna be so far in. And if you had too much detail, you can barely see you. So some stripes, Partido guy. But there. Yeah, I had some on drawing here, and then the deal can go on. It raised the Lear underneath so I can go ahead and go to adjustments. You situation and I can. I'm sorry. Terrible. Some reason was strike Laghi. So there we are. So now I can dark and again, you cannot make create another layer here, Make figure this guy here so you can feel that he's really grabbing the guy anyway, So we can some outlet of so you can see the cat more clear. No. Um, so you see, there is a really lose aspect that it like, you know, I I wouldn't go and kind of clean up more would leave. Look, that so we can go ahead now and start, um, start, um, coloring it, you know, And I'm gonna just be very rough on the coloring, and I'm gonna you know that I think this this kind of approach is a little loser. I don't want to kind of get caught up in too much kind of making very detailed because you might screw up. So throw me Feel like home. Great tone in the monsters can be the humans could be. So I'm just gonna throw the just great lier year. You know, it's kind of like painting with water colder. No. And, uh, it's kind of like the work off Ronald Searle that you guys saw anyone Simp e, which is a little more rough for, you know, and last very broad strokes. And in water cooler, you have to work really fast. So you don't really have timeto polish too much because the because the painting drives really fast was water based. So but there is a really rough and beautiful quality tweet that you can't really get when you're doing opaque. So if you can, darker I banged, knows a little wider. True what? So as you can see, you know, it really helps toe make the drawing a really popular to you and this other guy here, Same team, you know, in this brush here, it's a really kind of lose brush you can easily find these days. There's so many people that customized brushes, you know you can easily find online. Or but this is brush. I like it. It gives a few of, um, I'm more like of a a lose kind of top of brushing. It's a very colon brush. You're not gonna have a hard time finding, so I'm just gonna go and give a little more rough so you can see gives this very condom. He feels it's almost Inc and, um, awash in the past. I think, you know, and, uh, here, liar. Just lips would be little colder in that. If you can make this part here, like is like his valley in your victim, it almost feels like some kind of teddy bear partner White. This guy here had the same pattern. Go here. I like working photo shop because it's foot shop is a very common soft word in a lot of people I know how to use in its You can do everything in photo shop. It's simple. It works efficiently. It's a really great software. I really recommend you trying to Simon using photo shop. So we made a few adjustments from the rough. As you can see, you know, there's some things I added eventually, for the sake of time, and to make sure playing a little bit with. So as you can see, you know, we have the influence from, you know, like he looks some kind of like him. The carnivorous plant mixed up with the Chewbacca guy going toe the big foot, you know, you know, with his big foot. Kind of like you a creature like, you know, But we kept the kind of fun feel of off, Just like fun. Monster instead of is not just a creepy guy. You can tell there's a lot of personality going on here, and I feel this is something I love to do. Is keeping exploring characters. But they have personality. This tongue here. Yeah. So, yeah. So it's pretty much you guys or, you know, we can. You can even add if you guys want, you know, just for the sickle. More fun. You can add the humans. I think you know. So they really pop from the rest. We don't have too many callers, is just Do you want me? There's different tourney skin. She has some kind of orangish here, and I don't know, I just made them naked. But you can add clothes or you don't. I just did it because it is a stylistic choice. My add a little bit chicks. Rosie. Oh, Hubble Here. True. More like a brown here Goto added tawn into him. There you go. So you can see there really helps, too. Just differentiate. And very simple Does not show many details, but he really adds to the pure, but a piece. Oh, there's another guy on the border and let's make him on the cat with making B. Yeah, tabby, Pork et. There you go. So very it is guys in a while, you can just add a little a shadow here, they're gonna multiply. And now so it's kind of like a little bit of a shadow here. So there it is. I hope you enjoy the drawing, you know? Sorry. Couldn't execute the order ideas, you know, But I feel you gotta grasp off. Oh, my approach. 9. Final Thoughts: Hi, everyone. Um, I hope you, um really enjoyed the class. You know, I know we talked a lot of, Ah, about a lot of things, you know, I am sure if you watch it a couple times, that's gonna make sense to you. But I really try to explore character design through a storytelling approach. No, which is really on finding what's the meaning behind my design. And once you find that your designs become more interesting and they have more meaning, you know, and he feels they have more like a soul. Um, that's approach using story, you know, and usually a lot of times when you designed something, when uses approach, you always come up with something more original and which were more personality than just being a shape well designed. You know, of course, it's important to have in mind the design aspect of it. You know, this is a huge part of design, of course, but I think it's a very important element. It's a melting is the crucial element to make sure we understand why we're drawing that you . So we dis approach that you share with you. We went through all the phase and top process that I go through. You know, when I am trying to craft characters, you know, And before I executed. So we spend a lot of the time 80% of the time. We were just talking and thinking, and then execution wants that top process was clear. Execution was much, very easy. You know, you know, you could take some time, toe, do your artwork, of course, takes time. And, um, you know, skills and teams like that. But without your idea, without talk process doesn't matter where you can do like a wonderful design, but sometimes can be a meaning was designed true. So I really hope you're you're able to corporate that in your personal designs and so you can create character their memorable and can last forever in the minds of your friends and family and co workers. So I'm looking forward to see him back in another class by everyone