How to Draw Textures and Imperfections - Zombie Art | Robert Marzullo | Skillshare

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How to Draw Textures and Imperfections - Zombie Art

teacher avatar Robert Marzullo, Online instructor of Figure Drawing and Comic Art

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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

8 Lessons (1h 27m)
    • 1. Introduction

    • 2. L1 Warm Up Sketch

    • 3. L2 Drawing in Our Basic Forms

    • 4. L3 Designing Our Zombie Character

    • 5. L4 Drawing Textures and Imperfections

    • 6. L5 Drawing Textures and Imperfections Part 2

    • 7. L6 More Texture Variation

    • 8. L7 Final Rendering on Our Zombie

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About This Class

In this class you will learn how to draw and render textures and imperfections. What better way to do that then draw a Zombie with really bad skin. You will learn how to create a variety of details by paying attention to overlapping shapes, light and shadow, size relationships, and areas of contrast.


In the first lesson I will show you how to think about the shadows when creating overlapping shapes.  This basic concept will warm you up for the Zombie Illustration that we will complete next.

I will then walk you through the process of using primitive shapes to define the head of our character as well as the basic expression.  Then we will proceed to lay in the various textures and overall design of the Zombie.  One of the biggest take aways from this class is that drawing loose and organic concepts can help spark creativity.  I use this method when I feel stuck or lack creativity.  I find this to work for me and I hope it does the same for you!

Thank you for taking this class and good luck with your Zombie ART!


Robert A. Marzullo

Ram Studios Comics

Meet Your Teacher

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Robert Marzullo

Online instructor of Figure Drawing and Comic Art


My name is Robert A. Marzullo and I started teaching comic art online about 10 years ago after starting my Youtube channel.  It allowed me to connect with aspiring artists all of the world.  I love making art videos and I work with both traditional and digital art methods.

I am also the author/illustrator of the book, "Learn to Draw Action Heroes" and the "Blackstone Eternal" comic book.

It is my goal to help you realize your potential with art and follow your passion!  I hope you enjoy these classes.

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1. Introduction : Hey, welcome back of one. I'm Rob Marcelo, and this is my class on textures and imperfections. Focus of this class is show you how to break down all these neat little textures so that you could incorporate them into your various monster designs. Creature concepts. It really applies to everything. After we go through a warm up activity, we will start drawing in our zombie walking through, creating the basic forms of the face. Then we'll get into laying in the texture and we'll talk about how to really think about that. Simplify your approach and how all these different textures kind of culminate together to make more areas of interest in your work, especially when you're trying to create something creepy and eerie. Like this zombie character. The main thing that you learn from this class is that this process is very forgiving and lend to being creative. So whenever I find myself experiencing a bit of a rut or repetitive behavior in my work, I like to do something more forgiving and free flowing like this. And textures could be a great way to spark creativity and then ultimately designed these characters that are a bit more skewed and kind of weird, but again, a lot of fun. So I hope you enjoy this class. I'd love to see what you come up with. More content is on the way. Very soon, as always, Keep drawn, keep bond and bye for now. 2. L1 Warm Up Sketch: Okay, so for practice activity to kind of get you warmed up, I just want to show you, uh, kind of the thought process. Really? So if you were to start with, we'll just say a line. Okay, so you start with line here and you say, OK, my light sources on this side of this line, and so you just had a shadow just like that. Okay, It almost starts to look like, Well, I guess now it just looks like a decline, right? But as soon as we add a thinner line on this side, we get this effect that this is ah, spherical like shape or maybe a board or something. It still looks relatively flat without the rendering, but what you can start to do too, make this look more interesting. As soon as you have something else on the other side of it, it could be anything, really. We'll just say a series of lines like this. Okay, it's kind of little spikes off to the side and then went to shadow these in a way where it looks like they're reacting to that. That form you can really get rid off the line. There and it's still going to read as a bit of death. Now, obviously, if you start to render to this side, you know it's going to start to look more dimensional. And then obviously, if you keep run during and you may be rendered down here keeping that very basic But you see, it starts to convey a little bit more. And then if you were to add another shape over here in the same way So you had a shadow started the line at a shadow here. But you have these shadows now around into these indentations, see how that starts to. It almost feels like these air. These air bumpy now is your small little bumps. Eso so that's kind of the basic idea behind it. But, you know, you just learned to elaborate on that. Let me show, you know what I mean? That's pretty basic representation there, but it all starts there. So So then, you know, you tryto do stuff that looks more organic. In this case, we're gonna be doing lots of imperfections to the skin of our zombie character. So what I like to do is fight the urge to do things that are too straight. I like to make sure that the shadows themselves are have a variation to them s. So if I do portions of it where it's thinner and portions that are thicker, it's gonna have a more interesting looking, more organic look. If I break up the shadows and I have them get thinner and ultimately disappear and then picked back up, it's gonna give yet another, more interesting appeal to it. So that, coupled with you know, say we have this, you know, this will say it's the pain or something like that. So we have something like this. You can start by drawing the line on the other side can have, like, a little weird looking worm, right? And but I really wanted Teoh to see that you don't really need this line on that. Takes some getting used to that you can really do away with that. But what I'm gonna do is add another shape this way or form, I should say. But when I shaved the one side like those air shadowed on one side on this item of shadows , Well, but I'm gonna keep it a little bit lighter. I'm gonna make this other side and even the side a little inconsistent. Sometimes they'll even cut into it at another little break or something. But mainly I just want it to be inconsistent. I don't want it to be too even. And then what I like to do with stuff like this is really just kind of picking area and then work below it, like picture that this is all either above or below one thing to the next. And then I just keep cutting into that and basically forming details. And I think the most helpful way to look at this is it. If you can really train yourself to not draw the lines but to draw the shadows, you start to get very inventive with this and you start to have a lot of fun with it and just kind of, you know, again, you're gonna just noodle around practice, creating different textures. And, uh, I think the other neat thing about this is you can kind of have an idea of what you're shooting for, but you're not trying to draw a specific thing, so you can be very creative with this process, Uh, as to where? If you're trying to draw character. You know that you have a preconceived idea what they look like. It becomes very specific and you start to kind of box yourself in which you shouldn't, because you still have tons of options with the way that you would create something in your own style. But it's easier to start to feel like something looks right or wrong. Where to me, this stuff doesn't look right. It wrong. Probably the only thing that you really have to be concerned with is the is the shadow and light source consistent on. I know there's times I definitely break that rule or whatever it's it's not always perfect , perfect science, but, um or at least the way that I do it. But I like to create these overlaps and then really try to work into that. So I also like to make sure that I have areas like this that are larger is like this that are smaller on. I really want to pay attention to the way I had a shadow. So, like, right here, if you look at this going across and this one will say is going below it right, I think the shadow here makes sense. But then right here there's not a defined shadow, either one. So it looks like it just connected, like, one piece, and I don't want that. So what I can do is say I'm not sure where the shadows, But I must say, it's here. I'm gonna make an educated guess, and I'm gonna roam that shadow over so that it explains the thing that is passing over. And if I want this one right here now, these kind of look Teoh side by side basically. So I'm gonna round a larger shadow over here in here. I'm basically pushing that back, pushing it down on that's That's really the thing that I keep doing throughout. Eso really pay attention to how those shadows how those lines rap over the neighbouring form, and then that will give you lots of variations, lots of things to play around with on. Then you know another way to look at it. Teoh is just putting things on top, right? So you got your working down to some areas and then you're putting some things on top, so on top, I'm going to make more of alignment. Looks like that and immediately this next form is on top of this area. Uh, and then also I could put a bigger pocket of shadow in here. I can shade to the other side of this a little bit like that, but I really don't need to draw that line. I can, actually, if I'm confident up at it, I can just kind of build out from there and ignore drawing that line altogether. A lot of times I will sketch it in because it's like a It's a guideline. It's like your rough sketches. So another way to do this and that I often find myself doing is lightly, just kind of throwing and just loose little sketch lines, purposely making them light and broken up, especially if it's this kind of repetitive. It doesn't have to be skin. You could think of this like intertwining branches wires like I mentioned before, whatever you want. But if it's something that's more you know if it's some things nature made right, like produced by nature or deterioration off things just falling apart from being aged, you're generally going to Seymour sway and flow, and unless consistencies or repetition, it's gonna be more randomized, and that's really what I'm going for here. And it works great for again. Skin folds. It works great for foliage effects. Everything kind of relate to this idea of light and shadow reacting this way and again, you know, trying to generate forms. You just have to be creative in the way that you overlap these ideas, and it's it's sort of, Ah, very imaginative processes wall. So as you do this, you're you're able to It's kind of, you know, find ideas in these like sketch lines and then render them out with shadow on. I find this to be just a great way to spark creativity. Very enjoyable, like there's something kind of relaxing about doing this. It's not again because you're not speaking up about drawing a very specific thing. You see, right here I made these repetitive right there. They're getting larger as it come this way. I guess this one's large in that, but there's a bit of repetition there. You can do that, but it's generally again going to make things look a little bit more engineered unless organic. There is some repetition assed faras in nature areas of that, but you just have to be careful of it. Obviously, if you combine that too with Brigid Lines, uh, you know, you might see that something like an insect. You know, you'll see that kind of rigid, repetitious segmentation from an insect or something like that. But I can't think of a whole lot of other instances. Generally, you're going to see a little bit more sporadic and organic behavior on definitely not hardly any straight lines. So you just you just don't see straight lines in nature. So what happens is, if you want to convey that this is mechanically done, you can use the same effects for shadowing. But as soon as you start Teoh building these straight lines, you're gonna look like you're you're going for something mechanical and engineered. Just be aware of that. So, like, right here, I'm gonna have this other one pass below it. But now you could probably see that this shadow is contradictory to this form unless this was extremely flat or it could be an invitation for two larger forms over here. But what I was actually trying to convey is that it's passing below this other cylindrical like form. So what I'm gonna do there is. I'm just gonna run that shadow over just like that, and immediately it gives more of a form to this. It gives amore apparent cylindrical like form on again. That's really the basis of this. So just kind of keep playing into this and developing things further. And I think it's very helpful to try to convey smaller details next, a larger one so that you start to get a sense of scale. Obviously, scale is a lot easier to convey when it's something we know what we're looking at. So if you start to do this and you want to really make sure that somebody has a keen sense of what they're viewing, you could you could just draw something next to it that is identifiable. You know anything. If I put a small building here, this is gonna look insanely massive. If I put you know, a ladybug right here, then this is gonna look a lot smaller. So you know that that representation of scale is generally by something that we incorporate into the illustration that that the viewer knows what they're looking at. So yeah, I'll stop here because I could just go on with this part for days. Like I said, this is very relaxing and fun to Dio. But I recommend you play around with this kind of warm up with these concepts, and this will make your hopefully your artwork, you know, a bit more interesting when you go to start shading and in adding texture. So let's head over to the next lesson and start to draw our zombie. So with that, let's move on. 3. L2 Drawing in Our Basic Forms: Okay, so we're gonna start by developing our forms. And so what I want to do first is draw basic representation of a head shape. If you studied the Andrew Loomis Method circle flights off the sides, some like that, and I really want to find your 1/3. So I come across here across here, divide that in half, had 1/3. I'm gonna make this longer because I want to have an open mouth polls. We'll bring that chin down. And that's this Might not be where it ends up, Just kind of starting the process. I've got a little bit of tiller here because I don't want this to be completely in the middle. In fact, you're gonna bring the center line of the face off to one side a little bit My back and again. This is kind of a floating marker here, but put oval for where I think the chin is gonna be at this point, Really squeeze in. Besides that, because I wanna kind of a thinner, distorted had I think it'll I just don't want so that is too overly round. And then by the time we attached the jaw, I'm gonna slant to send Taper the Santa bet. Some like this one, that I tend to find that I am always off a little bit from jawline to jawline. Now on a zombie character. I'll be honest. I don't care as much because I'll probably purposely make thes crooked because it looks kind of meat on something like that. But if it's, ah, character trying, Teoh really get a, you know, symmetry and therefore maybe the concept of beauty or handsome face or whatever, then you might be a little bit more aware of that. But it's really finding these points from side to side that helps you to do that. I'm gonna bring the ears out. I think that would be kind of fun again. These are just quick placeholders, not necessarily what it's gonna look like entirely, and I'm gonna bring the brow line down. Somebody put a slight curved downward like this, and then I'm just gonna keep adjusting thing. So the arc on the top of the head seems a bit strange to me at this point. I kind of want to see what it looks like with sometimes you'll see people they have a little more of a point to the top of the head. I think that might be coming. Need looking for this character. We gotta remember. There's lots of different head shapes rights, not just round. It's not just, uh, no ovals. There's there is even little bumps here and there that you want to bring out. You get bumps to the side of the skull right here. There's a technical term for that are terminology, But I don't know it. And so now what it is is that they want to find the center on the face and work out, and then I'm just gonna do a basic set up off what eyes generally are, and that's, you know, the same distance across is equal to one I the head is tilted away, so we're going to see a little bit more of the side plane of the head over here, so I need to move those eyes over again. The center line is right of a guide that starts that and, um, the bottom of the nose Bring that down. I think it would be called a given, like a downward pointing nose like this kind of more theory. More Halloween kind of thing. You know, I always say it's on Halloween masks, but downward hoping knows. Okay, so now I want to do it unopened mall polls. I don't want something too dramatic, but a little bit. And I'm gonna make it crooked because for one, uh, always struggled to get it perfectly straight anyway, So sometimes I feel like it's just better to go with that and over exaggerated and plus it adds to expression anyways, so I'm gonna bring that up like the one lip is really kind of tucked up and then for the bottom of the mouth. This is kind of a tricky part, because if I go straight across in the chance closer, if I goes down like this, then I need to drop that chin down. So I'm not sure which is better at this point, I'm just gonna play on these concepts, but we have to think about the jaw as a pivot point in the jaw, dropping down So the top skull portion of the cranium doesn't move rights. And forgive me for this bad illustration, but I just want to show you a quick representational. I'm talking about something like this zygomatic bone. It was back here. But, you know, you get your teeth and then this part obviously pivots down so it drops down like this. No pivots from this point of drops down. So you have toe get this kind of thing going on. You see, I went too far past. That's me. Where is that? Backward, Quick and a lot of confusion. But I think it's helpful to draw this stuff to the side like a profile sketch like this. And then these more complex or relatively complex versions make more sense. So again, if we drop this down kind of test both, I think it's good to explore these ideas. Drop that down. Now You're going to see top teeth here, and I've seen him a couple crooked and couple missing. But I start with just this kind of arch and then the bottom going to have it where you can see kind of this horseshoe like shapes. You're looking into the mouth more and again because that's dropped down like this. We need to kind of work down and think about what's gonna happen here. You're gonna get this skin that Bunches up against the chin Obviously we're gonna be distorting this quite a bit, but I like to start. Was kind of ah, little bit more realistic version so that I know where to take it. It's almost like thinking about the skull before you draw the face because it houses the information hinges upon the bone structure, obviously. So now we'll bring this chin down and I'm gonna give him a little bit more of a appointed skinnier channel. Elongated chin. I think that might look interesting. And then as the as it comes up here, we have to kind of change the jawline. It's not gonna peer so wide again. I got a flight that urgent tend to make it crooked here, but I'm gonna in the elaborating and making it more crooked anyways. Now the mouth is a bit crooked, but I don't think it bothers me. I'm just kind of analyzing this and adjusting as I go here. Another thing I want to make a mention of is remember that there's a lot of triangular like shapes that can help you draw the line things as well. So it's not just a center line, it's not just squares. You want to try squares. Oval strangles. You don't really want to use all these basic primitive shapes to kind of find things like, one that I use is right here, where I'll go across to the center line in the face and I'll find I call it the nasal cavity. But you know this kind of nature nasal ridge that you get there through the eyes or close to the eyes, and I always find that helpful, and I find it helpful to draw this triangle that meets in the center line. If not, if I just kind of throw these in, they might be crooked. And the more I do that throughout the face, the more everything is going to start to Slope, and I have a natural slope to my work anyway. So have toe again. I try to be very aware of this stuff, even if I'm drawing a distorted character. I don't want to get too lazy. And then when I go to draw a somebody does need cemetery in alignment, you know, back to bad habits, basically, so I try to use this stuff a lot you want. Also think about planes of the face, got a front plane. Here you get the side point of the your side of the head. They're kind of like a bigger plane change. You also got the line that you'll see people draw from the top of the year down to the chin , another good one to kind of map space and kind of check the the negative space of the jaw there a little bit. So like that. And then I like to throw in the circles for the eyes like this, especially with a zombie like character where I might potentially leave one of those eyes really visible versus, you know, regular human or whatever, where I would cover that more of the island's I'll probably leave some exposed now, since I've got this one lip up actually want to bring, I think, uh, this side up, I just want there to be some asymmetrical value with the expression. I'm gonna bring one of these down anger. Look, those wrinkles in here, we'll bring that one up. Okay, so I also want to think about the position of the neck. Obviously, for something boring, you could just put the neck right in the middle like that. He's a skinny guy, the next get scared If he was a bodybuilding zombie, it's gonna this big, wide neck things like that. You always have a V shape here, but I think that that's a little too boring. So let's just put off to one side. Let's just bring it back like this, given the impression he's leaned over and just remember the neck muscle external cloud of mass. So it goes right from the bottom of the year and V's down to the collarbones. Get another little beer you shape right there. These kind of spent out from here. But we'll just do something like this for now. So again it looks like there's a little bit more of a pose there. And so that's it. That's that's our basic primitive shapes to get this started. Everything is subject to change as we were fined this, but I just want to give you again these kind of core shapes to start with, remember, find playing changes, draw lightly as you're sketching. This is a to H lead, so I'm able to, uh, you just kind of find this stuff and it's easy to races. Find your center line and work outward on, then remember, You know, you've got lots of triangles in the face. You've got representations from again the top of the year to the bottom of the side of the chin. All these things together should help you somewhat rain in your proportions in your design of the character. Um, but it's not. It's never perfection, you know, it's it's always a work in progress. You're always kind of sculpting and maneuvering. This stuff is you go. And I think that if you allow yourself to think that way, you tend to be a little more creative than thinking. Something has to be exactly one where, exactly another. These air just guides to help you start to spot inconsistencies in your work, and I get him to this day, and I've been drawn a long, long time. So let's head over to our next lesson and start. Teoh designed this a little bit more and flesh this zombie out. So what? That let's move on to our next lesson. 4. L3 Designing Our Zombie Character: Okay, so now we're gonna work through Ah, little bit more design of the character. So let me go in soft to raise this back. Somebody is a prisma color kneaded eraser. Uh, don't mind the look of it. It's pretty old, but it still works. You just stretch it out, clean it up, flatten it out. I like to, anyway, is kind of planned it out and then just glance across this again. This is to each leg, so doesn't mess up the page too much. And this is Bristol board Smooth. Strathmore 200 Siri's. It's a good, affordable Bristol Ward, I think, for the quality. And so I'm gonna push all that information back and again, I'm gonna let this stuff kind of just always. Guidelines be a hinge to what I want to do here. So what I tend to do here is I start to think a little bit more about wrinkles and folds in the skin. Now, obviously it's a zombie. So we could take this and really play around those concepts. We could have big patches, missing skin. You know, sometimes you'll see they drum with no lips and the just a teeth there's all sorts of things that you could play around with. I tend to like doom or of the build up of texture and imperfections, less of the missing spots or whatever. So let me just show you what I mean. They're So if I take, I want I want to really texture this and so have the opening. I wanna have one eye more exposed. I also think we kind of need to have a little bit of skin even draped across the I like that. Maybe it's even something other than skin, but I think it just looks kind of cool to put something in front off the I like that. Now the rest of it, it's going to expose in the skin that would normally be on the side. The wrinkles there have those further ways. So you put a shadow right there, so I just want to give you an idea of how I tend to think about the texture itself. So, for instance, we use the cheekbones example. If you look at the cheekbone, remember what I said here about this coming back? This is I zygomatic bone. Let's bring out the best shape. But it goes back like that. It's actually pretty defined in the skull, so you can look at skull reference. And I think that it would be kind of neat to really over showcase that a little bit so kind of a shape like that going, uh and really that that pocket of depth that you get under the cheek? Uh, I'm gonna throw a little bit more of a shadow in there. And then, as I worked up over this, I'm actually going to put, like, almost, like, vein like shapes. But again, I'm thinking mawr of, like, you know, the rotting flash we might see. You know, the really bad imperfections to the the skin and from deteriorating. So what I'm gonna do is I'm gonna have areas where recesses in. So I might do like these little shadows and pocket areas like that. Then I'm in areas where there's just kind of something come in front of it. Almost the same concept that showed you here. And then I criss cross a lot of this now, honestly, when I do this, I generally kind of sketch doodle kind of quickly. I'll actually scribble a little bit, you know, just kind of back and forth role lightly. And then I'll try to find things in that and shaded out. But I want to explain it a little bit. Mawr hopefully vividly in the way that I'm doing it here, where I show you kind of a step by step. But it's is really something that starts to happen. When you do enough of us. You start to realize that you can pull ideas out of those little scribbles, and that's that's really what I do. A lot of times, eso put like these little directional scribbles, kind of going along with the wrinkles of the brow. And then and I'll even do this and characters that aren't zombies. But this. I like putting this wrinkle going the other way. So have wrinkles coming up, fanning out from the center of the brow. I have wrinkles coming other way, and I will actually shade them together and you'll see a zai do is I'll show you. I need spot. I don't want to get into shadows too much, but I'll actually titles together with shadows, but I'll leave light gaps on the top, so you have to keep in mind where the light source would be on this. I'm gonna get this shape and and I'm gonna have it still a little bit more of a wide open I but not nearly is not like the other one where the eyeball is exposed. So I'm gonna have the tear duct over here. Have the I rounding to the bottom right there. Top. I live here and then, obviously, lots of little wrinkles can't overdo the wrinkles on my character like this. And again, those wrinkles air Nice. Because they give me an option to put something going the other way of vein, a little piece of skin, whatever. And then when I connect it to get out of the shadows kind of looks meat. So I'm constantly thinking of recess in elevation. I guess so. Eso what? The nose here. I could just have the nose comes straight down your little bump here. I could have come straight down, but it's gonna look a lot more interesting if I put, like, fold of skin across the nose, something like that. You know, I could really just I could have the whole tip of the nose just removed. I mean, there's all sorts of things you could do. But like I said, and this one, I'm really going to keep it looking like there's a character that just kind of has all the features in place. But then there really badly decomposing and so skin Here. Brandt aside, uh, I'm gonna bring the side of the mouth and more. Um, bring this skin fall down. Don't bring another one up to the side here and want to get down to the jaw. Here. Really want to spree? Sculpt this jawline? Just I wanted to look creepy, and I don't want it to look too clean. And so you'll see when I change the perimeter shape here, I'm going to try to make things a bit. Not strange looking, but just, you know, bony landmarks. We're gonna appear more distinct. You know, I don't want to put two rounded of a face on this character because we have to think about , you know, they're there. Zombie right there. Pretty malnourished. Whatever. The type of nourishment they're giving isn't the isn't the good stuff, right? But s So we have to sit there and try toe really kind of make this look more strange like sometimes it's just taken off a chunk of Ah, you know, the ear Put this big, you bite right there or again, rotting flesh or deterioration. Now, the other thing is that we need to apply different textures. So, you know, I've showed you this and I'm gonna be obviously detail in this more where you see kind of overlaps of skin in little shadows to define pockets, right, That's part of it. But then also, what we have to dio is want some tinier details. So size comparison really helps when you're trying to convey, you know anything in an illustration, really, But definitely something like this. If you do the same kind of effect, say right here that we have on the cheekbone and you do that everywhere, it's not saying it won't look cool, but it's going to get a bit, you know, an interesting, But if you can have some variations, you can have some larger shapes of shadow. You can have some different ways that you texture and step. Oh, I think it helps a lot like another one I like to Dio is just a kind of a patch of myths. Why would I consider missing skin. So when I might do is bring this, like, kind of shaped like this. For instance, rates will just kind of scribble a shape in here. A couple smaller shapes by it. I don't like that, Okay? And then what I'll dio is I will add a little bit of a shadow to the top. What I consider the inside a top edge and then I'll shade and render this way. Now I've done this is well, where I've went with the muscle fibers. So because that's basically what I'm trying to give the look of trying to give the impression that the skin has been ripped off and we're seeing into the face a little bit more of muscle fibers, whatever you can also still chisel out the shape of the muscle. I like just doing this kind of rendering line like that, but again, you can go like the muscle fibers of the chin. We're probably gonna go more like this. I'm not looking at Anatomy book, but I would assume that's the way they go so you could follow along with the contour of the muscle fibers and shade this in that way as well. For me, this is kind of a shorthand method. I feel like it works. I always seem to like the look of it, So that's that's just what I dio. But again, it's me trying to create different levels in effects within this design so that it looks more interesting. So again, I want to bring out the shape off the skull a little bit different differently, like I want to bring up the sides in this indentation here. I think that looks a bit more creepy, and it's easy to do change that perimeter shaped like that. And you can really look at skulls and see if there's lots of little imperfections. You just throwing little bumps here and there. You don't have to have it all clean and concise. And I definitely think that for a character like this, you want A you wanna really allow yourself to make more inconsistent choices. All right, so I got toe little pieces out of this year. I think that looks good, but over here, just especially so you can see that it's kind of reinforces that that is an imperfection. I won't add it over here. Might do something else. I know. The other thing I like to do is, well, it's just kind of like little bits of hair. Like like character had hair before it became a zombie. But now he's balding, just a little patch of hair trying to draw these a bit more scraggly. So a lot of times when I draw here, I try to think of ribbons and draw like flowing locks of hair. Well, for a zombie, I'm just not going to do that. I'm gonna have, like, just wiry little bits of hair on there again. All these little things just kind of add to the the texture and flavor off the character concept. Other I think I like to do is add little bits of pockets of shadow to the sides of I. Now, since this eyeball is exposed, I'm gonna put that on the outside of the spherical shape of the eye. But here, I'm gonna put it on the inside of the eyelids over that You kind of get you to think how shadows aren't insanely hard to do. I did find them to be difficult at times for depending on what I'm working on. But But the thing is, a lot of times it's a simple is placing the shadow in just the right spot. And once you've got that, it kind of starts toe work a lot better, like it's it's really just, you know, where is the ridge at? And then where is that light hitting that ridge? You have to really think about that. Uh, I should be able to explain it hopefully further in the records of for it, because if you put these shadows in the wrong spot, this doesn't work. But if you put him in just the right spot, the wrinkles on forehead will look kind of meat. Um, there's lots of things where it's just like, hey, just gonna put that shadow on just the right spine. It works so much better now. I haven't really defined a really great light source. I've just got little pockets of shadow. I'll start by drawing a shadow under the nose. You see, just by angling it like that, it tells us that the light sources up here and then I'll use that is my placeholder and just kind of work through the rest of it. Another big one is gonna be the shadow against the neck. Now, I do feel like I need to get a little bit more of the details in place. I get all my line working place, even some little light scribbles just because I want I wanna have some ideas so that when I start to shade this, I don't block over blackouts. Mary's That might have been something that could have been rendered a different way. So if I put this heavy shadow right here, so I think it's fine. I just want to think about is there gonna be a little bit of light hitting the neck muscle there? Do I want to render this with cross hatching and then texture inside that cross hatching versus just blocking this in? But I think black and it'll be fine. Shadow here under the ear or connects the neck. Think that'll work? Yes. And now we've got a little bit of our light source kind of going. So let's do this. Let's stop here. We're gonna continue on. I'm gonna zoom up a little bit tighter so I can explain some of texture and I'm getting ready Dio and greater detail. So what? That let's move on to our next lesson. 5. L4 Drawing Textures and Imperfections: Okay, so now we're continue to texture and again remember that. Ah, a lot of it is good to just kind of drop in very light lines, get some direction and flow going also like doing these deterioration of the skin going this way in a couple little wrinkles off the side of the mouth. I think that looks creepy and kind of cool. But again, it all starts with just these little scribble lines. And directional lines may have the bottom lip here kind of Brooke back. Some like that and again, the the other form of texture that I think goes well, with all this, I'm gonna probably have at least three predominant textures, and that would be the overlapping skin. And basically it's just a almost like you would do veins, really, And then the opening of the scan and some rendering lines. And there's just a few different ways you really do that. And then also this one. I think I think of it almost like you're stippling. But I go back and forth and just kind of add these little almost dots or tiny little pools of black side by side on. I just going back and forth pattern around the form around the area that I'm trying to texture, and that's really it. And you could do that all over his walls. So again it gives you these different ideas and concepts, but all in the same illustration. I just like to do that in my work. I think that that seems to work pretty well and be sure to experiment with their textures. They don't have to look like mind by any means. You might come up with something better, hopefully dio, But just practice variation eso. It gives you more ideas to work from, so I don't believe there's really right a wrong way to do textures. But it's nice to have a game plan going into the illustration to kind of keep your focus. Sometimes when I just tend to, you know, be on total autopilot. When I'm illustrating, I'm gonna get um or adverse effect. But if I think about these concepts as I'm implementing them, I generally can control the quality level that I get on that I think that's important, especially when you're trying to work for a customer client. You know you need toe need to give him a certain consistency in your work. And I think that is where you know, the fundamentals and the the idea is we're talking about here. Need to kind of play out as you do this. So the texture of the forehead I want to really show you this because it's I think it's really important. Like if you do the wrinkles coming out like a fan motion. Okay, so like that and you have other wrinkles going across like this, and this could be as wide or his bunched up. I tend to think that it looks better if they're not consistently separated. So be aware that as well, sometimes you just kind of squiggle the line through there purposely just kind of randomize it. But then as you go back to refine, this means softer races again some little bit. So now I'm gonna get in here, and I'm gonna think about that light source. So, for instance, on this fold of the skin going this way horizontally over the head, I'm gonna put a drop shadow are just just a shadowing on the bottom of it. Okay, so that's what I'm picturing here. Also not trying to make one consistent line over. I'm trying to imagine the line going across, but I'm just doing pieces of it. The reason being is the other thing that's coming through is this wrinkle going this way. And so what I'm gonna do there is I'm gonna connect him in the sense to the one side like this. Remember, I defined the shadow coming this way from the nose with light sources from this way down, hitting the nose, casting the shadow will. Then over here, same thing, this wrinkle this fold that's going not vertically. But, you know, in a up and up into left, I guess I'm gonna put the shadow on the left bottom side of that. That's gonna also hitting kind of connect to pull together with that shadow on the other one. So watches A you know, kind of consistently approach this. There's another one of the folds again I'm gonna work across over and again. It doesn't have to be really consistent. I mean, you definitely want your shadows too. Work together. Eso that you get, you know, continuity from what's going on here. You know you can't just place from wherever because it's going to fall apart, but at the same time, you don't need these shapes to be consistently repetitive. I think that kills it because we're talking about ah, very organic thing here. I mean, you know, rotting skin. It's gonna be a little date. Get same organic in that. But but yes, so you have to, like, play around these concepts. But again, like right here, this skin piece that I'm getting from that negative shape from doing these around it, it's starting toe read independently, right? But it reads a bit too smooth on. I struggle with that. Sometimes I do that, and I just leave it because it is working. I don't want to ruin it, but but you just need to kind of re draw and move these shapes around. Sometimes it is easy is just kind of nudging one of the shapes and work again. It's the same concept that used for veins. Um, you gotta really be careful not to overly connect all of this, because it it looks better. If you don't like, you have to let the viewer's imagination kind of connected dots. It's probably best way I've heard it referred as, and it really does look pretty neat when you get it, right. It So you gotta think of your basically conveying to shapes here. You're conveying well, multiple shapes, but you're the main focus. Is the ones going across this way and the ones coming up fanning out. And then you could even obviously incorporate, like, a vein or us another missing patch of skin and and on and on, you know, So you just kind of keep going with that. But I'm gonna keep that relatively simple for now, like that. So hopefully you can practice that and get that concept in place. But I really feel like this is the thing that makes all this other stuff work. Like especially, you'll see the cheek now work into that more and it's really the same concept. But I really kind of crisscross a lot more, and I also want to add again. I kind of mentioned about size comparison. I want to add some that are just heavier by comparison. So I might have, like, a really thick here. I'm gonna put a shadow off the the cheek, put this thicker kind of vain or whatever this is. And piece of scam, But then it will come across the other way with some smaller sections. And I'm just kind of criss cross back and forth again. I'm really just trying to find something that looks cool in a this a bit more of a random process in this this way that I'm doing it on. Then also, these lines, instead of having them go straight across, you want to really try to play around with them curving around, uh, the form that they're on top of So, for instance, is on the cheek some of practice making that look like it curves with it again. I don't want these to be too consistent, like it even kind of bothers me how this one looks like It almost looks like that's the same thing and I really wasn't picturing it that way. So I need to be aware of stuff like that. Am I going for that? Look, if I'm not, you know, change it, then let's let's bring some of these over this way again. Another little pocket of shadow. So you see, this is very random, and this probably is the part where I tend to I don't want to say so. No, but, you know, just just kind of I get into a rhythm, I guess. And then I just kind of have fun with it because it is kind of it really is a repetitive thinking after you figure out what your your technique is for the shadowing and the texture ring, but you do let allow it to be random as you're doing it, Um, and just have fun with it. Just play around these concepts, but it's ah again and it almost is looking to repetitive. The shapes are too evenly, um, you know, the same width or whatever. So I'm gonna break that up a swell, because I don't want that want there to be, you know, some some feeling of depth. And I think that comes from the size relationships. And again, it's still bugging me that these look like they almost would be connected. And I think that when something is almost that way, you either need to embrace it or get it out of there. Because if not, it becomes a distraction. Is that what he was after? So I could try to go with it and do something like that? Um I could also use some. Why Shapes? So I'm gonna This is gonna break the line from the cheek phone, but, uh, thanks. You don't not liking that defined line from the cheekbone as much as I thought. So I could, you know, race that back and I go with a wide shape. White shapes are actually pretty good for organic things. Like wrinkles, bees wise. He's like that. You see a lot of wise in the body as well. All right, so it's a little bit of shading under that brow there. It's just some regular lines, nothing to advance their. And I'm going to like. This is ah, side playing to the head. And the skull kind of has this shape right there. But I like sometimes just bringing these wrinkles right over and through there, so I don't want to cover every square inch. Basically, I don't think so. Anyway, sometimes I will. Sometimes I'll just go really crazy with texture, and, uh, it could be fine, you know, It could be I can really make the artwork look pretty area times, but I do want some wrinkles that go over this bridge of this plane. I'm gonna try to still keep the definition of the plane change. And sometimes that can be tricky, because if you had these wrinkles over your kind of, you know you're not leaving that nice Chris badge there, but I feel like it would just attract away from decided. Anyway, someone put these wrinkles going through here, and I'm probably gonna have a fume or like caps of the skin here. So again, like I mentioned down here, I'm just basically creating these like little little shapes and then just rendering it. You can practice all sorts of ways, toe Render this. The main thing is, I think, is that it's just different than the other areas. So it's noticeably different concept there. Different texture on nothing is when in doubt, just stippled. Just put little like little dots and the bumps. And there's lots of styles that I love that do that where it's almost like they're like, I'm just going to get it done, but it's ah, it looks really neat. It's better than just not doing anything at all. I think I think when you're trying to texture something, sometimes just random little marks is all it takes Um and also it's again. It's another variation toe. What's going on here? We have this overlap of shapes. Here we have these open areas with rendering. We have these negative space parts of illustration in any a just kind of stippling crosshatch throughout. And it all it all adds more interesting. Look. Okay, so we're going to wrap up here. We'll head over to the next lesson and continue detail in this character. So what? That Let's move on. 6. L5 Drawing Textures and Imperfections Part 2: Okay, so now for the mouth, I would basically really embrace crooked teeth and bumpy imperfection. So the perimeter shape, obviously, if I kept it as clean as it was, it would look pretty strange. Like, what is the zombie have all his teeth and why they perfectly straight and all that eso probably the first thing I do is generally I don't draw every tooth on a regular character that I'm illustrating. Always seems to look a bit weird at least when I do it. But for a zombie, I would I would draw every to that first and really that waken pinpoint where it's I want a crooked tooth and where I want one that's a bit longer than the one next to it. All that kind of stuff. So I'm gonna show the divides more in the gum lines, stuff like that, just going for more eerie looking set of teeth. Bigger gap. But really, what I'm gonna do is just take a couple of mount, right? So one of kind of knock out a tooth? I guess so, Um, I think it would take out. Let's try. This one are here. I'm just gonna black that in eso Uh, no, that's enough. I'll do some on the bottom as well. So I think that I'm gonna probably put this one where it looks like it's chipped. And then this one where it's longer. And then I would even texture these a little bit. Just couple little Marxist anything that makes him not look too clean. Uh, you know, he's probably hasn't practicing good hygiene and quite some time, so I don't want to play around. That'll chips little changes to the profile, I guess. And so for the bottom again were we have this horseshoe like shape because we're looking into the mall more, and I'm gonna do the lines coming across. Now, some people are very specific and they count the teeth and all that. I don't do all that. I just kind of draw these lines and separations with this horse you like shape. The one thing that will generally dio knowingly, it is important with this character, but generally map out the forefront when the forefront ones air a little more flat and Ford facing. Now we're looking up into the mouth, so our downward into the muscle we have to bring that they can't be completely straight to our vision because we have to picture, like, over here this jaws drop down on all those those four teeth up front are coming up towards our vision alarm. Or if our cameras were, you know, not that close, but our cameras here somewhere, it was a little camera. And so, you know, we got a paint that's at angle, so I gotta be careful not to draw these two straight, but they're straighter than the rest. So if you look at your teeth of the four on the bottom, have a straighter and dinner thing going on and then eight and I think you get, like, more of a key nine looking one here and they go back from there and they're a little more squared off. Uh, now, this is a zombie. It's fantasy artists, creepy scary art. So it doesn't need to be, You know, you don't have to think that far into it, but I just want to explain some of these ideas. I think that once you study things, all of these concepts kind of bring through your mind. But you see, at the top very far from the wait, is this This tooth would be smaller. Canine would be here, which I actually think I might like that canine. It just kind of looking. Make him look a little bit scarier. Almost like a well, but a vampire tooth there. But these would be squeezed in for I got him too far apart from most for it to look realistic. But again, I'm gonna take this. And I'm immediately going to blackouts from the spots. You know, it's gotta have some missing teeth and actually make sure I don't line those up symmetrically. Look a bit weird. Just take out a couple of those teeth on. You'll see a lot of people will draw this part, and they will just draw the other way. Let me show you the other way. I think it'll excellent. Better. So you're going for this creepy zombie did. And instead of worrying about the place, my teeth just gonna draw a couple of them in there like, you know, he's lost most of these from biting people. No, Again, we fight that symmetry thing. Can't do that. Let's bring this one over. Come to right here. They could also be pointed because they could be busted up and sharpen some areas, just something like that. And then for the tongue, uh, you'll see a lot of people. They have a tongue all ripped off, hanging out one side. There's lots of ways you could do this as well. Um, but when I tend to do here is just have it where it looks like all this is in shadow, and then you just see a little bit of the tongue and you could again, little imperfections depreciating any of the same effects could really be applied to the tongue as well. And then I tend to just render just a little bit of shading to make it look like, you know, it looks like it's into the mouth a little bit. Tiny little imperfections. Also you condone. You do like little bits of drool. Blood. I mean, whatever it is. But just, you know, kind of the stuff kind of dripping out of the mouth. Quote will to say it's live. Then again, it seems like a zombie wouldn't wouldn't have any saliva, right? So maybe it's just another way to draw texture and make it look more creepy. And remember to him still drawn with this to each lead. So a lot of this, for me is, is finding these ideas, working through it with this lighter lead. And then I'll come back sometimes and tighten up even further with the darker lead. Sometimes you without erasing this again. Just basically, you know, kind of work through the ideas. I start to feel a little bit more confident about what I'm after, and then I'll just come in and tighten up with the darker lead and call it good. And for some artists, that's the stage worth correct ink so on, and I have been doing more of that as well, so it's kind of fun to do that. But I will work through as much of my thought process in the lighter letters I can. Sometimes it's just a matter. Whatever I grab, because I start drawing and just playing around with these different wrinkles and polls, I also want to incorporate a little bit more shading. So what I've done this far has kept the shading a little bit light. But there's areas that I want to see more shadow like, for instance, right here when that's more shadow there The other neat things you can You can't be careful with it, But you can shadow and then let some of the wrinkles kind of blend into that shadow a little bit. Um, but I think it needs to be subtle because generally, you know, areas where their shadow lights not really reaching those areas. Not a smart see, he kind of went up. I don't know. Pay attention to that. You don't want to. Just It seems like it's just too easy to draw these details in the shadow. But then it almost takes the the effectiveness out of the shadow. So, you see, I do it a little bit here. Like what? The neck I could I could do it all over the place. But then again, it just dental sudden. The shadow kind of loses its appeal, I think. Okay, so now work a little bit on this other cheek here again. I think I've explained all the textures that I'm gonna use them, this one. But I'm just gonna keep repeating this process. And I'm just really trying to draw with these tiny little shapes as I do this. And then there's certain things that I just have found that I like doing like I like, you know, coming from the bottom of this kind of droopy eye Let effect that I'm doing. And then I like putting a wrinkle that goes this way. And it noticed, too, if I add the, uh the shadow thinner here and thicker here, that that actually does something for it doesn't look so flat. So if I come to the other side of this now and I start to texture and I draw these other shapes, something like that can go back the other way a little bit, Just play around it. But hopefully you see that it makes that this negative shape here a little bit more interesting. Now, if this shadow was even right across, you just run the risk of making. Sometimes it looks to flat, so play around with that. But sometimes the shadow itself just needs to be a little inconsistent. Likewise, you just like a little bump in there. It doesn't have to be a smooth line all the time. In fact, for something like this, I would say shouldn't be a smooth line. It should be a bumpy line. It should have imperfection, Steve in the shadows and so really play around that concept on. Really? Just when you hit a certain edge, your shadows sometimes should round around that edge. So just by rounding this little spot, I add dimension to that lip. So you see that before I had a kind of straighter right there? Well, it flattens out that lip, But if I roam that little edge simple, that is, it has a little bit more dimension to that lip. No wonder the brow here, but not as heavy as the side because this problem is down. So you're gonna get mawr of a different shadowing a fact. Even though I'm kind of tempted to fill this all in, I have to think a little bit about that. Somebody's little sketch line. Does that go? And I think even for this eyebrow, since it's raised up, I need to get some of the skin up here. Now I'm actually shading to the wrong side of those wrinkles again. I gotta be careful about that. Really. I should shadow the bottom of whatever wrinkling picturing now here. It's gonna look like I'm cheating above it because it's it's kind of how I have to do it. I guess so. But, yeah, I need to think about the light hitting yet in this being the bottom of the wrinkle above it. It seems weird, but that's, you know, again, something that I have to try, Teoh. Remember? Hopefully it all kind of fits together. It all works together, and I feel like there could be a couple cool little wrinkles here off this. I could be going around this way. Yeah, I gotta admit, this stuff is so much fun to do. It's just you spend so much time trying to draw, you know, perfect characters, clean characters. And then you go to do something like this. That's like I could just relax and doodle, you know, Just have fun with it. Uh, you know, there's a lot going on here. I feel like sometimes this is easier. Probably always feel like this is easier in a little bit more, in a sense relaxing because of that, because I'm just getting too. You think about a few fundamental concepts and then just noodle around and see what I can come up with. I definitely didn't have a blueprint for this guy going in other than I just wanted him to look pretty creepy. So let's do this. Let's go ahead and wrap up here. I still get some or, you know, information. Do one show you how much detail the nag get the ear and the rest of the forehead side of the Chantiers. We still got a little bit more to go, but we're really just gonna keep repeating this process and try to bring out levels of depth here. So with that, let's move on to our next lesson. 7. L6 More Texture Variation: Okay, So now want Texturizing more of the other side of the draw here. Now I feel like No, I feel like I want to really make this side look different from the other side. Let's see. First, I'm just going Teoh at a bigger kind of, ah, pocket right here. Work across again. I'm gonna do a lot of crisscrossing and try to get these finer details in here. It's going back and forth to do that. And then here, same thing. Maybe that's what I'll do, because over here I've got this texture effect over here. I'm just gonna do a lot of these little I'm almost picturing like wires. But you know that wires there, bits of overlapping skin. But smaller details basically because to set size comparison, it's really so important in a lot of things that you draw like like buildings like city see age like, you know, techie designs and futuristic think everything uses it. Everything has it. It's like if you drop big imposing creature design or whatever, it's it's cool, but it becomes way cooler As soon as you draw that tiny little silhouette character next to it that now shows you how massive it is or, you know, it's a character like Godzilla, and he's only so cool until you put him next to a building. It's like, Whoa, things massive. You know, eso The same concept is really in here that it's not that it's making things look that massive. But you need that size comparison and ultimately just variation on the work. If everything is the same weight of, ah, line work in the same repetitive like if I just kept repeating this shape right here all over the whole thing, it look OK. It look interesting in parts, but I think it wouldn't be nearly as cool. But as soon as I had these tiny little details here and there, it changes the dynamic of it. So you really player all its sighs relationship in your textures, and again it works in everything. So music, you know, try to make sure that everything you do has it, you know, look at some of your other work and you know, whenever you're trying to pinpoint something, you know, maybe you have ah, particular illustration. It's a little bit boring or something. Maybe check that. You know, see if that might be the culprit, because it it affects a lot of things. Brilliant keeps making me think of backgrounds because you can make these repetitive window shapes in your backgrounds, and then it just kills it. You can kill a great composition, but if you do a lot of overlapping shapes a lot of again variation and and interesting imperfections than all sudden, you could make a background look pretty good. But okay, we're talking about zombies, not backgrounds here. So again, I think that here also I can change the silhouette. So, so far, all they've really changed the sell. What with is this, You know, part of the ear here and bumping this of the head a little bit of a hair. But that's really not changing the Selway, Uh, you can also obviously you can in debt, and you can wrap one of these shapes over this. So try to take this one. Grab my smaller racer here. I love the racers on the back of the mechanical pencils, for this reason. Really Can't get right in there on the smaller parts. Yeah, I could bring that one right over. It doesn't make sense that that would occur, But, hey, it's our zombie weaken. Do whatever we want, But I think that little things like that really help us Well, And you could even have, like, some stuff. Kind of just coming off his ear, right? Like just we just jumped out of a dumpster. We don't know, but, um, more just pulled himself out of the ground. There's all sorts of things that you could be thinking about. I think changing the silhouette like that makes it more fun as well. Well, I think this shadow here could be heavier. Like there could be some imperfections right off that on the bottom of I can when doubts kind of staple, get to sketch out of here now for the eyes. I don't typically draw irises in my zombies. I don't think it looks cool, but I've seen people that do it, and some people can make it look pretty neat. Some people do it where it looks like the irises kind of just under Ah, I think they have really bad cataracts or something like that. But what I tend to dio is just kind of shade the eye itself, something like that. So it looks a little more spherical and rounded, and I might do some, like little veins off the side. It's kind of hard to see it on this one, but on something bigger, I would definitely more than veins. But really, just that that kind of hot spot And I might still add, like a glare. So you see those? But that's about it. I really don't. I don't think the irises look that good. It always makes me feel like you're looking at up. Um, you know, an actor dressed up like a zombie. And we have to try toe, hopefully not have any of the same low budget restrictions for for our work. We can do whatever we want to draw here, so we don't have a budget in mind on then. Here for the this part of the nose, I feel like I can have a little bit of rendering here again. I want these fold and imperfections in the nose as well, and at this point, I kind of will go through in just tie things together with little bits of shadow. I kind of pull some of this stuff so I decide. Tangled up, Neil, All that kind of together with just these little pockets a shadow, this kind of analyzing this and trying to figure out what I want to do next. So this part of the illustration, I feel like it's pretty good for what I want, what I'm after. But I also don't want to, you know, leave any unfinished areas so just kind of looking at okay, Does anything look finished? Does anything look like, uh, I think that's kind of the problem with all this detail, Like when you add a lot of detail to a confined area, it's like, When do you stop? You know, And then how do you make it look like you meant to leave areas open because you do need some area is open for contrasts and for I think a lot of artists will refer to it as letting letting the viewers I rest. That's why if you see like a really complex page, it's got all this great detail but no negative space. Uh, generally won't appreciate it as much. It's hard for me to really say that because I love detail, but it's you. I've heard enough great artists talk about it that I definitely. I understand the concept, but again, I'm probably not the best person. Teoh explain it. Since I love lots of lots of detail, texturizing, anything, I think I'll leave some of this top part of the head open. Maybe he's been fortunate. Had a lot of things hit him in the head up there. I might also add, like a little bits of rendering to the very you know, just change up the line, work a little bit. Little bits of cross hatching to the side plane of ahead, shadow some of the ear over here we got Remember the the heads gassing a shadow. I appreciate all this and like that this year we got a handsome imperfections over here as well. And another thing that I wanted to make sure to mention in these lessons with this particular example is that I often times will find myself gravitating towards stuff like this when I become, uh, un enthused or bored, complacent in my work, I'll go for things that are very kind of eerie and strange, and Lousteau interpretation things that I could just really go with and do my own thing. I feel like it just gets my creativity a boost. I don't know why. I really don't know if that's gonna bring true for a lot of you, but I figured I would share it. But that's it seems to be something I do a lot like. If I get, I guess the only way to really put it is if I get bored and I feel less creative, I tend to do something like this because it's it's almost it's almost some of it's on autopilot, you know, Like I said, you think about the core fundamentals we talked about when doing this, things like light sores, things like imperfections and being okay with, you know, asymmetrical values and just really letting things kind of happen as you as you drawn, render, you know, letting ideas evolve and present themselves. Uh, it's not being so critical. I think it's I think that's the part. That's probably the the best is it gives your critical thinking a break, and that tends to allow for creativity and my own work. So hopefully that works for you as well. All right, so what? The neck here? Same thing. I'm just going to use the lines that are here, but drop into pockets. A shadow under the external Clyde Alm asteroid. The one I like to say when I want. So I'm smart, which isn't very often. Okay, so now just gonna have tidies together. Remember what I said about V and why Shapes and triangles, That's all kind of what I see here. Just kind of picking out the shadows for that. And, uh, again, I don't want it to be to clean, so you'll see me kind of mess it up a little bit. I think I started a little bit too clean with these. I'm gonna play around season a little less perfect with the shapes I see there like that in that tiny little rendering lines to the shadow side obviously makes it look a little bit more raised and lots of lots of crisscrossing. So I'm sure when you look at anatomy books there's a right and a wrong way to place all these shapes. I'm just crisscrossing stuff toe where I think it looks cool. It's faster and again. I'm allowing myself to have fun and pretend this is the way it would look if you're a zombie. All right, so that's most of it right there. Let's go ahead and wrap up here. I'm gonna take the darker lead, Kind of refined this a little bit more and wrap up this Siris of lessons. So what? That let's move on to our next lesson. 8. L7 Final Rendering on Our Zombie: Okay, so this is a darker lead. This is 0.3 intel, and we see that in this HB lad. So generally I would erase this softer racist again in kid or, you know, whatever or softer race it and refine it with this lead. But really, I don't need to do that. I should be starting on. The racism left handed is this is this lead Any of the softer leads obviously got us much more. But what I like to do here is just you re confirmed some ideas. I like taking the darker lead, re sculpting the the silhouette of it, the perimeter shape. So, uh, yeah, but it also I like to just bring out certain details that I like in the work for me. I like this, you know, we're looking I it's just essentially tightening up so many smaller details as well. And then I never said I can get in here, especially since his 0.3 and get these tiny little lines in there. This is ah, pretty small face you can see by my hand or whatever the pencil that I went pretty small with this particular face, I generally will draw larger for something like this. But there's a lot to be said for practicing smaller details like this because it allows you to go for one. It's faster when you get the hang of it, but also it's, I think, that you generally can get a better, better look sometimes, um, certain things I tend to draw better. Larger. Obviously, If it was a scene with multiple characters, I want more page space to, ah, to get this done. But a face like this, I think it's a lot of ways. It's more helpful to do it smaller. You also have to practice it because you need to relate what information can be simplified and how you're going to simplify it, so that when you, uh, you go to DuPage work, you know, for certain things you're going to imply with more shadows, more shapes of shadows. So this is a really good size to practice that, but I feel like I was able to get a fair amount of detail in here. But yes, so with this just to kind of recap on these ideas, allow yourself to do lots of overlaps. Allow yourself to, you know, be a symmetrical and perfect. You know, let your imperfections thrive in this type of illustration and then, you know, just pick your concepts for your texture. So if you're you know, you want something that's pretty eerie and creepy. You allow yourself to have multiple textures, and you could practice those on just a blank sheet of paper. You don't have to go right for your illustration. You can warm up and do you know some different little doodles there and figure out these tiny little designs that you think look cool. And then you can bring them all together and applying to your illustration like this. But it's it's really just allowing yourself to do lots of little scribbles and then find find the concepts in those scribbles. You know, like with this part, this why, like shape? I didn't like that at first. I didn't like how it looked like a continuous shape from the other one that was there. So you see, I just kind of embraced it so again when there's something that's kind of on the fence for you, like kind of looks, alright, kind of looks like it means this kind of looks like it means that either embrace it or get it out of there. Don't be on the fence with it because you can't remember. This stuff is a visual language. Basically. Well, just like language. If it's can't understand what the person saying, it kind of defeats the purpose. So just think of it like that visual language that you need to maybe be a little bit more clear about what you what you want to see in the illustration. But, you know, if you like it and it works and it works, you gotta trust yourself is well, you got to, uh you know what your own voice is, What your own style is its ultimate. If you like it, then uh yeah, keeper. So also, I usually will take this lead and you get my line Wait a little bit more clear. You see, that noggin is pretty lopsided, and generally I'd want to fix that, but for this care tracks, you like it. Well, that's why zombies air fun. One of the many reasons I like how the darker let allows me to really pushed these shadows back a little bit more, makes it look a little bit more intense. I think I really want these teeth to look pretty chipped up, some trying to get that in there as well. A little bit of roll over from these imperfections that left. I really try to think about the shape of those forms as your as your doing. This really trying go with the design is that, uh, bottom lip that's supposed to be down a bit further. So I want to bring that out a bit more clearly as well. And I think it probably should have been a little bit more where I break up Thesis a wet because I like this part right here. I think that could be interesting to explore that for future renditions. And that's what's really neat about this kind of automatic drawing. In a sense where, you know, you just let yourself kind of, you know, I guess at some things and figure some things out as you go because, you know, you do get these little cool accidents happy accidents, right? And then you you look at that. Go. You can incorporate that into my style, and then ultimate year. You know, you're figuring out your style choices which is always a good thing. A lot of artists like how do I find my style? It's a hard one to answer, really were also different. But I think it's just a matter off experimentation. And then he realized, you know, you stumble upon something a while I really like the way that came out and then you adopted into your style. Likewise, when it's something you don't do well, you go. Okay, That's not my my cup of tea right there. I'm gonna not never do that again. So, you know, failure is also a great guide to success. Like, you know, people under you know, the undervalue failure. It's I learned a long time ago that you have to really embrace your failures because they they teach you so much that you to want not to dio so that I guide you to the right thing to do. We've got to really embrace that, but you know, always strive to be better. That's just accept failure every step of the way. But yeah, you have to definitely grow from it. And that's the main thing growing from it. It's really not that bad. Yes, so he's looking pretty creepy. Hopefully this has been an informative Siris of lessons for you. I'd love to know what you think. A swell, as with any of the lessons. And, uh, yeah, I'd love to see your work as well. So I hope you've learned from this and figured out a thing or two so again could look with their studies. Thank you very much for watching more contents on the way soon. As always, keep drawn, keep having fun and bye for now.