How to Draw in ANY ART STYLE

1. How to Draw in ANY ART STYLE: Have you ever want to draw different styles like go from realistic to anime to cartoony through sponge bob style? I'm going to teach you how to do that. I'm Enrique, artist and illustrator. I worked on movies like the Smurfs and Transformers Three Dark of the Moon. I'm going to walk you through how to do this. Let's go through the lesson plan right now, right off the bat, We're going to go through the basics, which is incredibly important. After the basics, I'm going to take you to what is the quality of design, like, what things make design design and style style. I'm going to go through that with you in the second video. That's really important. Then after that, we're going to jump into and take notes on one specific style. I'm going to pick something, write notes on that style, and walk you through my thought process. And I want you to participate as well. Then we're going to do this with a second style. Then after that, we're going to intermix and draw them in different styles. You're going to watch me do it and I'm going to talk you through the entire thing. You're going to learn so much in this lesson definitely follow, especially if you're a beginner. Let's hop in right now. 2. What is Style?: Okay, let's go over something real quick. We're going over style. All right, so what is style? I would think of style as the icing on the cake, right? Let's say the cake, right? You have the inside the bread, all that stuff. We're going to call that, you know, the core, core fundamentals, right? There is the fundamentals that what that is, the style is the frosting, it's the fancy stuff on the outside. It's basically basically, it's good stuff, but it is like the top superficial thing of it, put some candles on this thing. Here you go. That's what I see style as what's holding it up, is that good bread? Bread is what's holding it. It would be nothing without that bread. That is a good way to look at style. I like to think of style. I would say four distinct things. Okay, four distinct things. I would say line quality, I'm just going to write these down. Line quality, shadow or darks and lights, either way, edges. The fourth to put down here, proportion. The idea of I'm going to go through each one and talk about them, but all these together are essentially design language. The language of the style, line quality, Let's talk about that really quick. Line quality, thin line quality. Thin lines obviously goes without saying thick line quality, right? Things like cartoon things. A little bit more graphic if you think of something like thin would be something like, I don't know most things in animation like maybe Pokemon would be something like maybe jet grand radio, Jetset radio, maybe more graffiti art. Really big bold lines meant to just catch the viewers attention. Immediately, you see a lot of that in graphic design. And then there's the thin to thick to thin and I'm going to accentuate that. So maybe like the same line as thin to thick to thin again. Right. You see that a lot in I don't know what to say about that, honestly. But that one you can say, I can't think of a specific thing, but I know there's a lot of animation. There's a lot of different styles that use that thick to thin, usually on curves, right? When they curve the corner, it's right, I see that a lot. That's just a couple of ways to use it, right? There's dotted lines, there's also all kinds of stuff. Doing each one of these creates a different mood. It creates a different vibe and just gives a different feel like that's what a lot of these do, gives you an emotion. Shadows, really quick shadows, and how you use them, whether it be how little or how much you use them, can change everything as well. Let's just take a box right here. Let's do, let's just do another box over here trying to make it as similar as I can, but it's a different angle. So let's just say with the top box we have a shadow that uses cross hatching. And by the way, if you want to learn about cross hatching, I have a whole lesson on that. Go take a look at that. That's on here. Let's just say that has cross hatching, that's a completely different feel. Let's just say for this one, let's say the same shadow. Let's say we bold it entirely in. Just completely bold. All right? Think of something like Sin City. You know, that's a huge one where that creates a Film Noir look, where the darks are incredibly dark. Batman, the animated series, did that a lot and again, creates that mood, gives it a distinct look. This would be like traditional comic books from like the '90s. They use a cross hatching pattern a lot. But that would be an example of shadow, right? Or how little of a shadow you put in. Edges, I could say maybe forms in a way. For example, let's just draw like a basic arm. Let's see. I'm just going over here and just using anatomy that I know. By the way, there's an anatomy on here. If you don't know anatomy, I go over every part of the body to teach you anatomy. Go take a look at that. That's angular. Look, I know there's rounds. Let's just say the hand is down here, but I don't want to have to draw the hand the whole thing. It's an angular look like the angular elbow. Little bit angles right here where the muscle connects. Um, But let's, let's do another one using a more rounded approach. Everywhere is rounded, right, Like that's the same arm, but everything is now round. Literally the look is very different, like the round elbow, just the forms in general, just round, round, round, just rounded. A lot of those angles just are not there anymore. And it gives it a more soft huggable look. Think of something like sponge Bob when he has the muscle arms. Just a rounded look, which is meant to look friendlier. And again, huggable, obviously that's not always the case. But that rounded form can look bubbly. It can look more exciting. Maybe even something like Rick and Morty, right? Just a curved look like that, with hardly any edges. Very cool animated look. Let's go over proportion really quick because that affects a lot as well over here. If we go over normal human proportions is draw a simple representation. Maybe the average human is something like that we use, the unit of measurement is heads tall, right? This is about average proportions. I don't know, 56 heads tall. Like in real life, maybe you look at something like Batman, the Animated series. Those proportions become more, if you look at Batman, really thin waist in proportion to that, and maybe very skinny legs, right? Like think of Mr. Incredible from the incredibles. Like these types of proportions. And they make the upper body look bigger, to look more powerful. They tend to give the strong male figures that you know, with skinny legs. It's funny like the dad bod thing. And the skinnier legs make the upper body look bigger, right? And that also, again, plays into the style when every character has those proportions or every strong character has those proportions. That is a very style specific thing. Even something like Chibi applies, right? Because that they have baby like baby proportions, right? Very specific. So proportions in themselves create that style as well. So I look at line quality, shadow the edges. Maybe you call these things different things if you want. And line quality, proportion shadow edges that together, I think creates the design language. And I think I've seen that play out over and over again. And I'm going to show you why. We're going to look at different properties and know how to study and identifying what's unique about them. So let's push right into that. 3. The Basics of Drawing: Okay, real quick, let's talk very quickly about style. Like I was saying earlier, the cornerstone of style is your basics. You have to have your fundamentals, that is. So you don't have to have every single fundamental down. Don't worry about it. But you have to have a good base. But this video, I'm going to give you a base if you don't have it. Just a little primer touching on everything just a bit. And you can explore more through the other programs I have or anything else. But I'm going to give you a very quick overhaul of the basics in a short video. Okay, we're going to run right through them. Number one, let's go over the head. When you draw a head, I tend to start it as a circle. I extend it down into an oval, or you can just as an oval, completely fine, doesn't really matter. I use this personally, it doesn't really matter. We are pretty much split in half. I think bipedal, I forget what it's called. Bipedal means, I think you stand on two legs, but you're basically two sides of the same coin. We have some basic measurements of the head, which I'm going to go over very quickly. From the front of the face. We go over here, usually through the top of the hair line right there at top of the hair line. And then we have the bottom of the chin. We divide these into three into thirds. Right here, right here, like so on this third you're going to have the brow line which is like above your head, above your eyes. Let's just say your eye sockets are down here and you have that brow, that cave man brow. But obviously to different degrees, that's where the brow is right here. You have the bottom of the nose on this. Third, what this is going to do is going to give you basically a basic way to draw a person and then everyone deviates from this norm, right? This is just like a formula to get yourself in the ballpark so that you can start drawing whatever you want. But everyone's going to deviate differently. Some people are going to have a shorter forehead, some pole have a longer forehead, some people are going to have a lower nose. It really just depends, but this just gets you in the area within those thirds. You have the ear on this side, usually you have the ear within that area within those thirds. If we're going to look into what's it called, if we're going to look at the side of the head, let's draw the exact same head to the side. Let's just say there is the back of the jaw and this is the neck over here. If we're going to see the front of the head and the back of the head, and we're going to measure those out. Halfway down, let's say halfways over here. Halfway will be about the back of the jaw right there. Remember you're imagining the person looking this direction, halfway. This is actually one of the biggest mistakes in all of art, so that's why I want to go over it. People often make the back of the head too small when the person is looking to the right or left play. I don't know what it is. I think it's because we're so used to looking at the front of people's faces when we socialize, we don't really see the back of the head very much, but obviously the brain in there, there's a pretty big back of the head, like I said. From the front of the front of the forehead to the back of the skull. On average, you're going to get the back of the jaw around this point. You're going to get the ear around around that point. It's going to be angled back, but the bottom is going to touch that. These are loose rules, right? What do you call it? They're not basically ways that work, they're principles. They basically things that have worked in the past and that we use them because they've worked so often is not the only way to do it. There's many ways to do it, but this will give you a very good base as far as the measurements of the head. Another measurement that's very common. Obviously, I'm not going to go through every tiny measurement, you can go look at the head drawing for that. But these are very important. I think this is the most important. If I run through very quickly, I'm going to run through the features of the face. Very common thing would be for someone to draw the eye like this, right? Like the hieroglyphics. I would say a better way to draw this is a good way to learn. There is, let's just say the nose is over here somewhere, but the eye tends to have a peak right here on the upper inner area and another peak down here on the outside lower lid. That just makes it look more natural. Everyone has different eye types. Again, that's just a basic formula to follow, a basic principle. Remember that the eye is three D, and I've talked about this before. The eye ball sits in the eye socket. You have skin that literally wraps this. That's what it is. It's literally like not to be grotesque or anything. It's open skin. The eyelid right there's a thickness to that skin wrapped over it and it almost always covers the iris and the people in there. And we'll go over those in a second, right? But remember it's like literally wrapping around a ball, which is kind of gross, but that's just the way it is. Quick measurements over here we're going to go through, let's see if you look at the head shape. That's a shoddy head shape. But let's just say we look at like a head shape and we have the eyeballs in there. I'm talk about the eyeball, right? The entire eyeball, not just the eye that's exposed. The eyeball, there's about an eyeball's length in the middle on average, and an eyeball on the side over here, including the ear hanging out over there. Five eyeballs across, usually the head with the ear included. Then when we look at the eyeball itself, oops, it easy. You're going to have the iris, which is the color portion of your eyes. This is going to be a three irises across the eyeball itself. If you zoom in, let's just say we zoom in over here. We have the iris. You're going to have the pupil in the center, the black portion right there. And obviously that changes sizes, but on average there's about three pupils length as the iris, right, 3.333 Good stuff if you want to know the white portion of the eye, that's called the scala, that's the white of the. If you want to know about that, I didn't even know about that. You don't really need to learn the names of nothing, You just really need to learn the shape language. As far as, remember, this is like a drawing tip. Never show. If you draw the eye over here, you always want to hide some of the iris and pupil over there. Because if you don't do that, if you don't do that, if you have it right in the center, it's going to look surprised. It's going to like shocked. And that's not what we're going for. It has to be connected because usually we all do that. It's almost always covered by our upper lid just a bit. There's no measurement for that. Again, these are ballpark measurements. And then you see how you go observe and you see how people change according to real life. It's really cool to do that. You'll start noticing a lot of stuff. Let's go through the nose really quick. We're just like rapid firing these. If you have any questions, let me know in the comment section. Also, I want you to actually contribute. Say hey, is there anything cool about drawing that you learned about? Or maybe something I'm missing is video. Just let me know. Shout out in the comment section, let's push it. The nose is relatively simple. I tend to think of the nose as like this triangle wedge. Screwed that up. This triangle wedge shape. Very simple, right? Like a block. Like a triangular block. If you were to break it up even more usually, remember the nose, I think half bone at the top, like partially bone at the top and then the rest is cartilage. And that's why it varies so much. You get these very low hanging noses and older folks because cartilage still keeps growing in your body. Your nose keeps growing a little bit as you get older. But right here, this is the bridge of the nose, we're looking at that. Bridge of the nose to bridge, there's the ball of the nose, then there's the actual wing of the nostril over here. Then underneath that center portion is the septum, right? And you obviously on the bottom you have the nostrils, maybe you have like that little ramping into the rest of your face right there. I don't know if that's called really, but that's pretty much the way I think about it. That's pretty much all you need to know. In all honesty, when you look underneath the nose, if you want to know about that, it looks something like this, right? You have the nostrils and then the septum is in the center, right there. Okay, that might be it for the nose, honestly. Sometimes there's a little split on the ball of the nose, but that's the structure of a nose. The nose is a lot about what you don't draw, knowing that structure, so that we don't have to draw it, is a big part of this. The nose looks like this, but we learned the structures. There's like a little bit of a bridge there and you can decide whether to draw it or not. So let's move on to the mouth. The mouth is pretty simple at ease. You can either draw straight line, but As far as the lips go, If you want to break those up into simplistic shapes, usually go something like this. It can be a upside down triangle in the center with two triangles next to it. Then the bottom usually has two of these fat pads. Just learning that structure is good. You can see it. You're learning this structure there to omit stuff. Right here, maybe at the bottom lip, you do something like this. It's like this subtle curve at the bottom. Looks like Timmy at the bottom of when you learn the structure of it. One thing I forgot to mention very fast, just very quick note on the eyeball. When you turn to the right side, it looks like that, like completely to one direction looks like something like like a Pac Man symbol. Things turn, same thing goes to the lips. The lips are pretty simplistic, right? They're looking that way. This is the upper lip and the lower lip down to the chin. Let's go over the ear really quick. The ear is a mark. Okay, question mark. Ready here. Let's just say there's the bottom of it with a letter Y in it, right? That's the structure. Remember that question? The letter of Y in it. Let's say that's a question mark shape on the outside, pulling in a little bit. You got that Y right there. Maybe you have. I think that's a tragus. Is it right here? I can't remember. Maybe a line right there. People don't like drawing ears. It's just something you got to learn, though. A lot of people don't like drawing the ear. They just think it's boring. It is boring. I'll be honest. You can draw like a different kind of ear. Nobody cares. But that's the features of the face. All right, we're just going through these, let's go over quick proportions of the body very quickly. The body, and I mentioned this a little bit earlier. The unit of measurement we tend to use for the body is heads tall, right? We use the measurement is the measurement we use is how many heads tall is the figure, right? They use like, okay, there is a head tall and then we go down and down and down about. It's one head, two heads, three heads, 45. It's usually about six heads tall, I think in real life and then like in comic books, they tend to exaggerate it, that style itself. Like Superman and Batman, they're probably like eight heads tall, a bit of a smaller head, and it makes our body look huge. Obviously, that changes based on real life circumstances, people who you're drawing. But as far as drawing the body goes, always think of it in simple shapes. We have our little dummy right here. If I was to draw the arm, let's just say bending, I tend to start my figures in sketch form. I tend to think of this triangular shape. I think of the spine. I try to find the spine, find where my head's going to be, maybe I have my triangles for the shoulders right there to see where that's going to be. I usually put like a circle for the pelvis, or you can draw square for the pelvis, either one. After I found the spine, maybe go down to the leg, I may find that other leg, Wherever that is. Then I'll draw the arms almost like you're literally just drawing like a slightly fancy stick figure. That's how I go about everything, right? Look for the spine, find that one leg, wherever it goes, find that other leg, shoulders, whatever direction that may go. Oops, that's too long. Then I do my fancy stick figure from that. I like to think of the arms as very simple cylinders. So you know what I mean by cylinder, right? For example, if I have this arm, let's just have this arm. And I'm going to this arm right here. I'm going to pull it over so we can look at it. I think of it as two segments. I'm thinking about it as like these long like pringles cans or something. Why do I do that? The reason I do that is because everything has like a depth to it. And you want to feel like it's there, it's got a structure to it, and it's got form. And it's a lot easier to get them to imagine them there if they're tubes, because that's the simplest thing. Then above this, you can go over like anatomy. Which I'm not going to go over anatomy at all in this. I don't think it's 100% It's definitely necessary eventually, but I think at the beginning you don't need to learn it. But then I put the anatomy over that. I already have an object there. It's close to the shape I want. The arm, right? Let's just say the hand is over here, whatever. Okay, I have those tubes. They're close to the shape I want. They're the thickness and length that I want. Now all I do is throw, like I do is then I start applying my anatomy knowledge onto this. And then over that you can throw like clothing if you want. The purpose basically is to get that base to get that stick figure. And by the way, I'm doing this in marker to demonstrate, but you would do this in pencil pretty lightly because then you'd have to keep erasing and stuff, right? Because once you have this scaffolding here, it's very similar to when you build a building. When you build a building you have the scaffolding, right? All the ugly stuff. It's not even that ugly. It's just like a lot of wires and stuff, a lot of pipes, light pipes. And then they start building cool stuff on top of that. And that's literally the way, you know, you kind of build a figure. You build it in the same way, especially at the start. I know later on you can go in and just kind of whatever doodle around. But at the start, literally you're building and as you go in, you start erasing things again, When you're using pencil, that's literally how I do the figure as far as the figure itself. Again, just to recap, I like to do that egg shape maybe again, or the oval for the head. You can draw that triangle because I like having the direction of the shoulders where they're at. If you need more detail though, throw the rib cage in there. Guestimate where the rib cage is going to be if you want and or instead. Again, remember these are principles not rules. You can always just come up with your own shapes too. Some people, like I was drawing like a sandbag man or something. Or you can do like a thimble. I've seen this for the pelvis area. Things like a twine thing. It doesn't really matter what you use. These are just suggestions. I like using this or the circle. Then again, fancy, fancy stick figures. Those are, there you go. Fancy stick figure, and then you start adding on to that. I hope that makes it a lot easier. Because actually you got to practice this stuff too if you don't already. Because that makes it so much easier. So much easier. Let's go over very quick, lightly. I'm going to touch on perspective, just so you know about it, is going to make a lot of things easier. Okay, let's go over basic perspective, right? Let's look at a box quick. I got a box right here. It's a box, it's a cube. And we're looking right at the top of that box, right? We see one plane. This is a plane. This is a different plane. This is a different plane. It just means the side of it, we can only see one plane. Okay? But if I tilt it like this, how many planes do we see now? We see two, right? I see this one and then I see this one, okay? Same thing, goes right here, same thing, goes right here. Actually, right here. Let's say we do something like that. How many planes do we see? Now we see three planes. Um, so that's basic stuff, very easy. So how do we know whether we're looking at the top of something or the bottom right? It's whether we see the top plane, right? We're looking at the top of this or we're looking at the bottom. Okay, let me show you that concept on drawing here in very basic terms. Let's say one point in perspective, We have a vanishing point which is basically our line of sight, our vanishing point. A horizon line. Forgive me, horizon line, which is just really where our eye level is. Horizon line. It was put like H L. If we were to have a box below, let's just have our cube here. Below the horizon line, we see the one side of it, right? But since it's below, our view is below our site, we're going to look at what? We're going to look at the top of the box. Because we're looking over the box, we're going to see the top of it. I put a vanishing point. I didn't talk about that vanishing point. We can put it anywhere on here, but it's basically basically where it goes. So far away we can't see anymore, becomes smaller and smaller. Like when you see train tracks, it looks like they're coming together at the very end. So we'll put our vanishing point over here, which is pick one, this is one point perspective, that's what that's called. And I'm going to aim my line that direction of my cube over there. Let's say over here. These three are going to be aiming that direction. We can see the top of it and it's a little bit to the left of us. We're going to look at this side as well. This line since is one point perspective. This line and this line see these lines. Everything aiming downward actually like these lines to these lines aiming downward are parallel. Parallel. Parallel means that these lines will go down and they will never touch ever. They're not angling a little bit like this. Like they're going to eventually touch at some far off vanishing point that we can't see off the paper. It is literally parallel. They will never touch flat. Same thing goes for these two lines right there. Same thing in one point, perspective two, Let's go over here just so you can see them. Those two will never touch. There's no far off point off the paper, but this one, we're only messing with one point perspective. We're messing with one of these things. These will come together at this point eventually, but I'm going to add more lines right there. Just straight down, boom, straight across, Boom, right there. We're going to have our cube. That cube is in one point perspective, meaning they're a little off right there, eventually going to touch. At this point, they're all angled a bit, very simple. That's below anything above. The closer this gets. So for example, the closer this gets to our horizon line, the smaller this is going to get. Let's just say we have our cube right here. This is one point perspect, we're just seeing that one side a little bit. Then we're going to have that same perspective. They're still going to go off that way. It's going to be like a sliver, that top area right there still to the left of us though. We're going to pull down and then straight over here for that parallel. We're only going to be able to see like a see that we'll see a sliver at the top of that. It gets to our line of sight right there, our horizon line it gets. And then the more downward it gets, we're going to see more of it. Look for that stuff in nature then when it goes above here, obviously it's a complete opposite. Let's just draw a small one here. Let's just say it's disappear over here. Right now we're going to look like a Mario box, right? We're looking up at it, that's one point perspective. Just want to touch on that. It's very valuable. I'll come back to this for the reason that I'll tell you in a second. Let's go over two point perspective very quickly. Horizon line, right? Just our line of sight. Two point would be there's a point right here and there's a point right here. Two points. Now we have our box. Normally they usually display this at two angles. Like we're looking at the corner of the box. That's almost always how it is. Now we're messing with two dimensions here, right, originally. The others are horizontal. It's not that anymore. We're messing with two out of three directions here. Anything going that direction, I'm going to put to that anything in this direction. But up and down is still flat. Let's just say over here, it's fun to do this stuff, honestly. The up down parallel, hopefully understand this. If you don't understand this, let me know the comments. Or I can probably explain it better in the comments, let me know. Say hey, what's up? This makes sense. Write me in the comments that really helps me understand who's understanding. Because this is probably the hardest lesson of the whole thing. I think this is going to be a cake walk. It's probably the hardest and the longest lesson in the entire thing. You have a box like this and it disappears over there. The closer these get, the weirder it gets. Let's just say you have vanishing points over here. You have a box over here we're looking up at. It's going to get way weird. I think it's like photographers know about this. Dan's going down in that direction. Let me see. It gets more, I think wide angle ****, I can't remember what basically it takes on a different look. The closer those come, see how it's getting warped, it's this bizarre look. The closer they get, that's two point perspective. The reason. And this is what I want you to practice, okay? In reality, when we start drawing on paper, we start doing figures, we start doing any of this stuff. When we draw something like in a box or something like that, the thing, those vanishing points are going to be way off the paper. They're hardly ever on the paper. They're going to be way off. We have to imagine them, if I draw something like this, and maybe I do something like that and it's slightly coming together, the vanishing point, so far away, I'm going to have to just imagine it in my mind's eye and adjust. That's why you should practice cubes. It starts giving you a very good idea of general dimension. It starts to help out so much. Right here, I'll be like, okay, so this is going way off there. That's going way off there. See the vanishing point will not be on the paper. I have to angle that slightly right there over here. Something similar. Almost every drawing you do is going to be something like that. That can be a box that can be, you know, you adjust to it, right? Let's just say that's the top of Adas, like crummy chair. But using that box and also try to think in three D, maybe find the other parts of that box, right? You'll know where the chair leg sits in the back there. You can draw an extra thickness to this chair. That's the thing you're using, these boxes. And you're going to use them everywhere. And I mean everywhere you're going to use it, you're going to use these boxes constantly for stuff in the background, even sometimes human heads in a way. You know like you're starting with box shapes, this box, the cube. Learn that like practice it over and over and over and over again because it'll make your drawings solid. Like this is a good example, right? Imagine this is a chair, and now we know where the back leg is going to be, somewhere over there. Or maybe you feel it's peeking out over here, we would know it. It's going to make all your drawings look more dimensional of anything standing there. Maybe like a creature standing on all fours. You'll know, you'll put them on a flat ground and you'll be able to figure out where that back foot is because you know generally how to put stuff in generally decent perspective. A lot of it is eyeballing it. Like understanding that concept that we talked about and eyeballing it. Three point perspective. I don't even think you really need to do that. That's only made for huge buildings, right? Like spider man stuff. Huge buildings. You're looking at it from above. It was only made for like airplanes. And looking up at skyscrapers, I believe that's where it came from. We really didn't use it much before that. But any I was trying to drop my crummy three point perspective. I don't think you need to learn that, but that is a good primer for the basics. The figure, learn the perspective. If you need to go into depth into any of that stuff, I have lessons on it over here. But absolutely, I hope this is a good primer for you. Let's start moving into the actual juice of this. 4. PAPER MARIO ( Style Study #1 ): Okay, so let's go over the exact way I do this. When I go over like a style, you're examining a style you're analyzing, right? I'm going to write this out. So looking at something like Paper Mario, right? How would we take a look at that style with the stuff that we had talked about? Right off the bat, I would look at very thick lines. So I'd write that down in my notes. Take a note of that thick thick lines, right? There's thick lines going on in there and obviously more so on the outside of it when I look at it because the inner lines are not as thick, but generally those are very thick lines. The long dots for long dots for eyes, right? That's very unique to this style, right? They look like coins almost, right? Which is probably purposeful, I'm not sure. Just a lot of rounds all over the place. Just the edges are very rounded. I'll put maybe rounded edges. It's colorful but I'm not going to deal with the color in this. I'm dealing more with the design language. When I look at it closer, everyone's got like B proportions. Those are things that stand up to me and things that I think are very unique about it. Again, let's go over them. Thick lines that are used within linear format long dots for eyes. The eyes are essentially these ovals or whatever you call it, like these elongated ellipses, rounded edges. What else then the proportions, right? It's like a one to two heads height going on. That is what I see as far, the uniqueness of this style. Right. Let's go into the next part of this. If you notice anything, by the way, I want you to tell me, hey, I noticed this part of the drawing. Let me know because that helps out as well. Yeah, if you mentioned something in the comment section, that really, but that's kind of how we're analyzing this style. 5. POKEMON )Style Study #2 ): Okay. So we have our notes. Let's go over Pokemon style as well. So that would be paper Mario style. This is what I do with any style. Right. So paper. Let's go over, what was it? Let's put on another page. Actually, let's go over Pokemon style. Right? Pokemon, right. Pokemon, right. We would look at it. I mean, as far as the animation goes, obviously, it's animation. It's specific. I would say thin lines, relatively thin overall. That's one. You just jot them down like that. Looking at it, what do we see? I would say average human proportions. I would say proportions. All right, the nose looks like a. And I know that, obviously it's anime. But when you lose, don't know how says, I don't want to write this in my notes but let me go down. It looks like that check doesn't really show the bottom plane that often. Sometimes it does, but like in Dragon Ball, you'll have almost every nose show that bottom plane right there. And like same thing that you look at like Cowboy bop, you look at other anime. But for Pokemon, I don't really see that that often. Sometimes there's a shadow on the right side of it. But usually I see just kind of like, so I would say check mark. By the way, if you notice anything, I want you to actually put it in the comments as well. Let me know in the comment section, I'll look at it. If you notice something about the Pokemon style, that would be one thing to analyze. Let me see, what else will I look at? This again, also slightly rounded edges, not as round as paper Mario, but slightly rounded forms. I would say all the hair is spiky. Spiky hair. That's, that's a cool feature, but that's what I noticed. Like I said, I want you to point some out and put them in the comments. Put in something I didn't mention, just try it and they'll probably give me an idea. Let's move on to the next step where I'm going to actually give each other, each other's style. We're going to draw Mario in the style of Pokemon and then somebody from Pokemon style of Mario. Let's move on. 6. Draw Paper Mario in Pokemon Style: Okay, let's draw Mario in the style of Pokemon. I'm going to take some cues from that. Let's get started. First thing I do right here, I'm going to draw the upper half of Mario's body. When I'm thinking about it, let's talk it through. I'm going to start with the hat line up over here, going to make it look like that top of a more realistic hat down like there over here. Now I'm going to draw like a thin line instead of the circle for the insignia. I'm just going to put like the M across there. Going to draw line across for the front of the hat there. Obviously, the brim of the hat. Let's draw the front of the brim line out. Thinking about thinner lines, a normal right here curve. Then it's going to pull a round of the front of the area. Going to draw a thin line right here for the change in that little edge right there. Then over here I'm going to just straight up draw an M on the front as opposed to doing the circle insignia. I'm going to pull, well, I'm going to find the eyes right there. So I'm going to go over here and I'm going to find the tombstone shaped eyes. Line up, it's going to go underneath the hat there, line down, over here, line up, line down, maybe pull a little bit longer. Little bit longer. I'm thinking, keeping in mind the stuff with the eyes, Line over here, underneath there, and line over here. All right? So we've got the tombstone shaped eyes. Now I'm going to go in there and draw the iris right there. Go over here, over here. Circle right here for the high light. Circle right here for the high light. And then draw the people in there, the right on, okay, going to go bowl down the side of the hair a little bit. Zig zag, right there for the sidebar. Keep mixing it up. Curve right here for the ear, it's going to be a little bit longer because normally Mario's ear is pretty much an exact circle. But I'm going to draw Pokemon Ear line over here. And then another line right there for the inner portion of that line, back of the hair. I know we should draw the check mark for the anime nose, but he has a really big nose, I think I'm going to just change it up. I'm going to make it thicker than normal, so I'm going to draw a line out here, down a bit, curve back, and then draw like a slightly thinner line there, like it's a big flat nose. I think that would be a better idea. And then we're going to go over here and draw the mustache. And remember one thing I drew is a lot of people with facial hair, they have spiky ends of the hair. Facial hair or not. I'm probably going to go over here and draw a line out like that. And then down here, and I'm going to continue to take that over there, curve a line up across, go over here, the front side of the head. He's got his mouth right here. He's making an expression like, hey, what a line right here for the tongue. Don't forget, by the way, if there's any other attributes you think or maybe some ways that you would have drawn him, you can also, like I said, this is good stuff, give me your ideas and the comments that really helps out. It's definitely a big deal. I like hearing your thoughts. Then we're going to pull back, curve up and then we're going to find the back of the job pulling up there. So far, so good. He's got a little bit of hair sticking out the back. So I'm going to go maybe right there sticking out the back. All right. Pretty good. I like it, I like it a lot. Have a little bit of the eyebrow sticking out here. Nothing wild though because style of drawing tens, I don't have it through the hat because sometimes you see that a lot, right? Then we draw maybe a little insignia like line here for the cheek, very thin line, maybe like a Z shape or a line. Cool, cool. Just give him a neck line down here, line down here for the neck curve across the neck. Find the front middle portion on here for the center of his suspender area. Circle here, circle here. Line up right there for the suspenders. For the edge of the suspender line up over here. Again, keeping it generally relatively line line over here giving him a neck, right? Because there is no necks in, in what's it called in paper, Mario? There's really no next at all, I think. Correct me if I'm wrong by the way. I'm not sure. Line out, line around here, down right here, up down, right there. The side of the body down here. The side of the body out over here. All right, we're just going to do the upper body. This is pretty good, but what else can we add to this? I want to put a bit, little bit more realism into the overall. So I'm going to draw this kind of pocket thing that they tend to have in the front of overalls, right? And maybe a thin line right here for the color of that shirt. And that is it, that is Mario in a Pokemon style keeping in, you know, a theme with that. Yep. Let's move on to the next thing and like I said, I want to hear your thoughts in the comment section. I really want to hear it. Let's keep going. 7. Draw Pokemon in Paper Mario Style: Okay, so let's go into drawing peach in a style, right? Draw something from Pokemon picking Pau in style of Mario paper, Mario. So right now we're going to analyze what are Pau's normal proportions, right? Normal proportions for Pka got like that ball for the head generally. And they have an elongated body, like pretty elongated, Probably about 1.5 heads tall, in my opinion. If you take pechos head right, ears are pretty long, right? They're like these tube shapes. I don't know what they look like. They look like tortillas or something. I don't know, like tacos. Then he's got the feet sticking out and his arms are pretty short in themselves. How do we draw him in a paper Paper Mario sense? I would say we're going to make his stature smaller. First of all because Paper Mario, it's pretty much like two heads tall for sure. Statute be more cut, maybe something like this. Almost like a snowman shape with probably pretty similar length in limbs for the most part. Maybe even a little bit shorter, but that's the way and also going to make definitely the ears shorter that you understand the difference between the proportion right off the bat, how different that's going to be. Let's do that now. This is just not visual notes for myself. I want you to do this too. Just visual notes like, okay, this is what I'm going to do, looks like a piglet. Now, now I'm going to go over another paper and start drawing the way I think he would look. You can keep the other one around if you want four notes, but you don't really need it. You can just go with it. Let's already start that. Okay. Right off the bat. I'm going to start 1 minute right off the bat. I'm going to start with like this. I'm going to start curving over here, side of the cheek, curve up. Head is going to be pretty close. Leave that open there. Curve across the top of the head, leave that a little bit open for the ear on that side, down over here on this side of the head, cool actually for the arm. I'm going to go line line, similar shape but again this is two heads tall. It's going to be right here on this side. I'm in the back there. And have his other hand, like right here. Again, small arms, but that's similar all over the place. Let's go into his ears. Over here in his ears, E, for the most part in proportion, generally curving back right there. Now this is going to be off, keep it in about similar length, line over here, Fill it out. Line over here, fill it out. We set if you want. You can also draw like a line over here to show it in the back. Actually, let's wait till the face fingers generally are going to be the same. We're going to draw, boom. Maybe three. B three right there, coming there. And then the other one coming out over here in the tail it's going to be and squat right here and it's going to be pretty big proportionally, so it's going to go over here. Huge fan shape at the back, downward here. Out down here, right on. Let's go over here. Now the mouth is going to be relatively the same mouth, going to draw a little bit lower on the face. I'm going to draw curve, another curve right there. By the way, if you notice any other details you think should go in here, please write them in the comments. It's going to help a lot. I want to, I want to have a conversation with you in the comments. Maybe some ideas or feedback as well. Because the cool thing is you can do different versions of this characters, right? This is our brainstorm idea. Like our brains, this is a design you're reflecting over there. Okay, tiny nose still line like that. Eyes are going to be very different, so the eyes are going to be elongated right here. And I'm going to fill it in, no highlight right here on this side, right here on this side circle for the cheek. I'm going to draw that a little bit bigger, right there. And then over here on this side, right on. Then a couple of the designs on his back line right there. It's just like a V shape. What is this missing? This is missing the thick line on the outside of the shape. Okay, so first off, right here, go draw this, fill that in, make it dark, right there at the end of the tail. It's just a color thing, but let's draw a thick line on the outer. I forgot the little toes. This is in the design language, right? Paper Mario has a thicker line on the outside of its characters. That's what I'm going to do. I'm going to make sure it's a bit thicker. Quite a bit thicker. You can always judge for yourself how thick, but we're taking this again, the design language from one, putting it to the other. If you have any, maybe other cartoons you want to cross or like trade styles, throw it in the comments section. Maybe I'll make an extra add on. Just throw them in there. Anything you can think about, I'll see if I can do it and we can go over it. Maybe study it. Or if you want, I could probably just keep adding to this lesson if you want, but definitely let me know. All right, and there you go. That is it. That is Pikachu in the style of paper, Mario. I think it looks pretty good. Honestly, I don't know if I'd change a lot, to be honest. I think a lot of it looks pretty dead on. That's the way I would see him if you moved him into that other game. Now let's go do the reverse. Let's go find somebody from Mario and put them in a Pokemon style. Let's move on.