Learn Cartoon Drawing by drawing a Seaworld

1. Intro: Hi, my name is Maria Samovar and I'm an illustrator and animator. And I'm here to teach you how to draw a SeaWorld. But we're not only going to draw a silhouette, we're going to draw characters, cartoony characters. And we're going to do that by drawing and painting. Why fish? Well, if you're a beginner, it can be a little bit overwhelming to draw very complex human bodies. They have legs that have arms that have to stand properly. They have to have right proportions. You don't have that problem with fish. Creating cartoony characters is about giving personality to whatever you are drawing, giving human personality because we recognize ourselves in the characters that we watch. So skipping all the anatomy and all the physicality is that you have to learn. We are only going to focus on drawing characters. We're going to have fun. And we're going to learn very simple ground rules of how to create great country characters and how to draw fish. We're also going to paint a complete illustration of a SeaWorld. So by the end of this lecture, you will enjoy having a good time learning how to draw characters that also have an illustration, a complete illustration that you can on the wall and you can say, I did it. So I hope to see you inside the lecture and unwrap the nice features that I've designed for you. I'll see you there and we're going to have fun. 2. Basics: Hello there and welcome to yet another lecture for girls who know me and those who don't welcome to this lecture. So the aim of this lecture is not only to teach you how to draw fish, but to free you to draw characters. And drawing fish which doesn't have legs or arms or human anatomy, which can be very challenging. It's actually a very easy way to draw character. Now, there are a lot of different fish. We're going to start with just basic fish. And I'm not going to give you any references because I don't want to go and pick details of color and shape of fish. There's so many fishes that as long as you have the intention to draw fish, you will draw something that exist out there. So here we are going to learn to draw character. Again. I have a blue pencil and a black pencil. Because drawing with blue pencil to start with is three new mind and telling to it that this is some sketchy, this is something temporary. So I can play around. I can just draw a rough drawing which I later we'll refine with a black pencil. Let's start and draw some spheres and draw them roughly. Heavier arm move freely on the paper like that. And draw some spheres. They don't have to be, even. They can be wraps fears. Don't think too much about it. And you see how we will create a really nice, funny characters out of this basic shapes. Let's have a loan gated shape like that. And let's do something unexpected. Let's do a long one, long one. And then just for your imagination, let your arm drove freely. Don't be afraid if this one shape here and one there. This is just temporary. And this is your drawing kit. So it's like for every kitchen, you don't keep your kitchen tidy, right? You have bills of anion here, you have messiness there. And this is equivalent of that kitchen. Before you make a nice, nice dish, you need to get messy. You need to draw around them without being afraid. So let's start with this simple five sets. That one's easy right? Now. Here we're going to focus on volume. Volume for fish. Fishes are flat, they're not completely spheres. Most of them, there are some patients that are round. Like, I don't even know the name of this Blowfish that explodes like a balloon. We can have that fish be this one actually because it's kind of route. So what do we want this fish to be? We need to find the middle line from which the face splits in two equal parts, symmetrical parts. And let's take this shape, e.g. let's split it into the fish. Looks exactly straight to us. We imagine that this fear is transparent so we can see through how would the line go. We will not have the fish being too much stress. So it will have just this line. If this fish is transplant, go around the whole shape as a, as a bowl, as a transparent sphere. And we will see if that side is transparent on the back. The line will be approximately like that. But this fish is not transparent, so we will ignore this line and we will only focus on this line as split is a middle, which splits the fish into equal parts. Let's discover the middle line of this fish. This is kind of elongated fish and let's have the fish have the middle part over here. This time. The line that splits it, we'll be more equal to the line here. Because as the sphere girls around, the lines become more and more straight until it comes to this kind of straightness. So let's put a line here. The fish will look somewhere in this direction. Let's do that with this one. Let's have the fish almost. Being in profile. This fish will not have the middle. Why we will only see one of these fish. This one, what can we do with them? Let's do something funny. Let's have this visual be more Laika, flat fish from the bottom. And let's have the line being on. Always. Also here in three-quarters trick, that's called three-quarters pose, where we see the fish turned in this direction as if you turn your face a profile to take a selfie, right? You have, you look nicer. If you look at the site and look back at the camera, you look nicer. So that's the same for characters. Let's find this line here. This line. Let's do it in the other direction so you don't get used to draw officials just from this side. Let's turn it three-quarters. And this side, the line is over here. So this is our first lecture was difficult. I hope not. And I hope you find it meaningful, but that will happen in the next lecture. Right now, you've drawn nothing as you think in your mind. That's not nothing. That's a very, very important lecture. Now, let's continue with the shape of the fishes. In the next lecture. See you there. 3. A Female Fish: Alright, welcome back. Now we have drawn the shape of our officials. And now let's start with the first one and find the character here. So first we need to draw the phase from the face can be anything. And before we start drawing the face, Let's name of personality. What kind of personality do you want this fish to have? Let's have a lady fish. What else can you think of a later phase? That is, she loves makeup and kind of a contemporary go really. So with this intention, let's design the eyes. What does the lady fish has? If she is? She likes her looks and she likes how? How she can apply makeup even. So, we'll draw one sphere here. For one, I am one sphere here. Now this is going to be smaller and more squashed because as we go with the perspective, and the perspective changes the way a sphere looks like. So it's going to be a little bit more like an ellipse. What else can we have as a lady? So let's design a lead, draw her eyes. And when we draw cartoony eyes, what makes them cuter is bringing them closer together, a little bit like a cross eyes. But they are not Cross died. They just look cute. That's how babies do look. That's why cartoony characters are very similar to babies. So now the fish doesn't have a nose. We have one thing excluded here to draw. What else can you do? We can have some lips, lips that are very ladylike lips. And maybe some thickness. Who sells the fish can have lips. That is the thing where you can combine a certain species of fish, combining it with human features. All characters, cartoony characters that you find appealing do have human features. Basically, designing human, designing controlling characters means that whatever character you take, you apply human features to it to make it look realistic or to make it look like a character. Otherwise is just a fish. You can apply anything you want. Let's shape now this fish. What else can we do now? Because Fisher's Hess have fins and this is a lady like fish. Let's give her some gentle, nice fins here. You can design maybe like they will. They will symbolize chunk of hair, e.g. for a lady fish. And let's give her a similar themes on the sides. So just draw a wavy line, wavy line to find the shape of this hair like in the same here, again, still lose. And we have to imagine where this thing, the other thing of this doublet appears on the other side. And I'm not going to be two. I'm not going to talk too much about perspective, but you can find that by drawing similar horizontal spheres, approximately that you can find the perspective here. And I'm going to keep it simple. So obviously appears somewhere over here. So imagine the fin from behind it. If this theory is, this body is transparent. So you will see just a part of it like maybe this one. You can draw it like that because this is still our kitchen. And you can draw another line that connects with this chunk of hair to connect and to have this thing look like a female, like a chunk of hair. What else do we have? Let's make this lady dish a little bit thinner. Still using this shape here. But we want to minimize it to have it look more gentle. And let's design similar fence. So what can you do? I mean, you can add another line over here like that and you can connect it with this corner on this site. Still keeping it loose. We will refine that later and connect the end of this line with this corner with a similar soft and curved line that simulates this curve here. So following that, this is basically or a lady fish, what else does she mean? Shin she Mrs. the laziness in it. So let's add some lashes and some logs data a little bit. Close down as very self-aware and knowing that she's beautiful lady fish like that. And, and let's add some cheeks, make her cute. She's not an evil lady. She's very sweet. A little bit rounded, young lady fish. And this is the character we have discovered. Now, let's go with a black pencil and refine these fish. Make it concrete, and find the character in it. Just go over those lines. And now I can be all dark. Maybe you can leave a little bit of white spot here that is like the the glands on the sparkle on her eyes to make it look even more alive. Let's draw this chick on top of the eye like that. So she looks even cuter. And go ahead and refined even the other lines. You see that you don't need to delete so far or delete. I mean, erase. I'm talking digital language here. You see what technology has done to us. I draw very rarely on paper these days, but I do believe that training yourself to draw on paper gives you this feeling, this texture, and gives you the possibility to have this, this small, small shapes and lines that are so very important for you to get lost in the drawing and don't get lost in the details. And what is the difference with that? Because you see, if you go into the details and you don't discover this shape, you don't ask those questions that I have now presented to you. It will be very hard for you and very discouraging when you start drawing your characters. What you want is to Jane courage to have pleasure by drawing. Because if you have, if you feel pleasure, when you draw, you will continue doing it. And it is the main thing to be good at drawing is actually repeating the process over and over again. And also being free to experiment. Drawing is about experimentation. And it's about discovering a form and shape. It's not something that you draw and you are done with. It's something that you continue to over and over again. Do you know e.g. I. Design characters for my new movies? I used to draw maybe 50, 60 characters of the same character. I have his or hers personality in mind. And then I design different shapes just to find the right character for this kind of personality. So this is very important also for you to know that draw it roughly first discovered the character. And then if you want to draw a book or if you want to make a movie, you can always choose one of those character, of those characters that you've drawn and evolve it to a really nice, thoroughly drawn character. But the first thing, the first step is discovered the character this way. You see or shape or fish has doubts shaping. And now we can just go with a comment or on top of the lines. And just completed like that. And we can add details later on. Graphic details. This is now black and white drawing. So what else can we draw? We can draw e.g. symbolically graphic elements like fins, e.g. like the texture of her skin. We don't have to do we don't have to do that all over her body. We can do that just a little bit. On some places that will signify what kind of texture is this fish with? Just a few lines here and there are actually enough to give our viewers a sense of texture for this character. And now we can draw something like that here, maybe smaller things underneath her body. And later on, if we want to color this fish, then we can add even more details and color and different shading. But here we'll just do this simple lines that go along this line here. And they get, they turn in the opposite direction for matching. This line here signifies that these things go along this shape. And we can do the same here. Just match the shape of this line here and draw some lines. Dots get together here. Now we don't have such a precise pencil when you draw with pencils and we can't erase. So just signify that these themes continue here. And we can even shade this part on top just to have a better sense of this character that she is. These chunks of fins are serving for our character as a symbolic hair. Maybe we can shade her eyelids. So it looks as if she has make-up like that. And that is our first character. Basically. Congratulations if you've come here. And now that is very easy to achieve. You see that with this character, you can do a lot. You can have a story. And it is a very simple method because it doesn't have human anatomy, which is a really difficult if you are a beginner to grasp. So starting without is great. Now let's go ahead and draw our next fish. We're gonna do that in the next lecture. 4. A Blowfish: Welcome back. I hope you had coffee or tea or juice or water. But anyway, let's start with our next character here. And that is going to be the Blowfish, the one that blows off or becomes really around fish, one is angry. So we're going to draw this fish in its angry state. And we've decided to have the patient look towards us to make these fish a really chunky and big. We are going to have the face. They really, really small. So let's do this. Cute little fish. It's like innocence. Cute baby fish that explodes like that. And just being this round gives more funny look. So this fish we're going to do childish funny fish to enter. Do that. We're going to make a really tiny face within this area. This is also another thing that if you want to make something look really big, draw the elements of its body a really, really small. And let's experiment with that. Child has very round eyes. And also, let's have doubt and another eye here because this is a line of symmetry. And let's have this giant pupils like a baby has like that. And let's shade them a little bit. So again, drawing with the blue pencil, experimenting. Now in this fish, Let's have the effect of the fish blowing up like that with having its mouth closed. And it's chicks really clumpy as if it's holding its air. So let's draw two other spheres on both sides. Let's make it funny. We're out to have fun here. And a very tiny mouth trying to hold his breath as this fish blows around like that. Because it's holding his breath. Use the elements of your character or of the species that you're drawing. Make your character more interesting to add it as a trait to that character. It's going to add even more fun and extra feature to this character. And now we're not going to see any mouth. It doesn't have any nodes that frees us from drawing extra. Now what we need to do is draw a very, very tiny things here and here. And Let's draw maybe some eyebrows or the flesh coming on top of the eyes here, just with a small line. And just give the impression that this fish is trying to hold his breath because it's scared. So make the fence tense. Again. One line here and one that builds a triangle and make the line curvier. The more curvier your line become, the better your character will look. Because nothing in nature has draped lines. Especially organic forms. Organic forms like trees and flowers and humans and everything. They don't have straight lines in them. Everything is curvy lines, soft lines. So use that to draw an appealing characters in the character. Appeal is one of the most important things. So let's draw this cheeks and some of these tags. Spikes this Blowfish as having when it's in this state. And so this is the only thing we need to know. Now, let's go with a black pencil and refined are these features. First, let's concentrate on shapes that are above other shapes. In this case, the chicks are above the eyes, so let's draw them first and the chicks are not transparent. Even though we've drawn these lines with the width for the eyes, we know that the eye as under the chick. And you see the importance of sketching and drawing with blue lines because you know the order of words before something else. If you draw digitally, That's of course very much easy. You can delete. But I would like you not to use an eraser here. Because using an eraser, it keeps your lines stiff. It tells your brain that you can fail anytime that and that it is not okay to fail. I want you to train yourself to do exactly the opposite. I want you to train yourself to say that this is not a failure, but it is an experimentation. I'm looking for my character here. And the only way to find it is by doing it as if it's in my kitchen, being messier about it. Trying out different lines, experimenting. If you absolutely do not like you're drawing and it makes you feel angry. Just go ahead than the paper and start over, draw another one. So here I'm going to make a little bit of the worried line here on this character holding its breath. And let's refine this here. And now you can draw several lines. On top of that. You can see that these multiple lines that you have already drawn gives you a suggestion. Which line is actually describing around space, around shape. So it's easy to just go ahead and draw on top of it. So I'm drawing with you. I'm not fast-forwarding this video because I want you to take time and draw with me and to see how easy it is to do. So, we're actually almost done because that was an easy shape. Let's give some texture to the fence or the color. So to separate them from the rest. And let's define the eyes more and this area. And we already have a little baby fish that is trying to hold its breath and shade it a little bit. So we know that this is his cheeks. And we're basically done for this drawing. That's how easy it was. And it's a completely new character than this one, the lady fish. And we started with just spheres. This is when you have an intention to draw something, you start seeing the features. And now let's experiment with this little guy. Why do we, what do we get here? And we will do that in the next lecture. See you there. 5. A fish Captain: Hello and welcome back. Let's draw this little guy here. And we said, we're going to have him in profile. And let's have another character. Let's call him a sailor, e.g. and have a male character that is a serious guy, a sailor. And when we have something in profile, then we have only one eye. So let's draw a small i and cereals eyebrow. And let's have his mouth a little bit lower down using this line to signify where the mouth is going to be. A sailor is a serious business makes, let's make him serious. What can make a character cereals is having the lower part of the mouth a little bit, a bit, a bit inside, a little bit further in. So here looks as if he's biting his lips out of seriousness. And just go ahead of defining this shape and make him even a little smaller as he's bulky Gaia, just a guy who is doing his job. Another thing we can do to add more characters to personality like that is keeping the lines sharp, keeping them a rather strict in on the sailor. They have this suit. They have everything in place. All the buttons are fixed and so strict lines for this character will be, we'll give him a little bit more of this strict sale and look, let's have his eyes straight ahead. And let's have his themes also, sharp and straight in this direction. And another thing over here, sharp and straight. And he's probably having a second one a little bit further in. What else can we give him? Let's give him some mustaches like a sailor. And there are a lot of fishes with mustaches like that. And we don't see the other mustache. So let's make the eyebrow, or really thick. Like an old sailor garb. And some of the lips a little bit lower. Here is serious business. He's not playing around. So that's basically the, the basic shapes. Now let's refine it with a black pencil and then we will add more details while drawing with a black pen. So you can think about what kind of details you want to add more. And even if you draw with me these drawings, you can, in your head, think of personalities that you want to draw as fishes. I mean, think about your relatives. Would you like to draw your brother or your sister like a fish character? How would they look like? Or is it easier to have a general generalized character? In generalized characters, usually you see one personality traits. And it is easier to do because you can stick with these traits. You can use the attributes of a fish, like the simple shape, elongated shape or round shape. And you can stick these personality traits either it's something to do with the costume or with the demeanor. And it's easy to get. A personality is nice. It's easy to be recognized by your viewers. While maybe if you have a family member, I mean, they are not they have such a variety of traits. I mean, we all do. We're not just good or bad. We have a personality traits that cover a lot of big range of emotions. So if you draw your brother and sister, think of maybe their style is your brother or sister. Like a rock guy or girl, or someone that you know, think of something that is more general. And it has this typical dress go to dress style that you can bring forward or that will follow with the demeanor of the fish. And not only you can draw a fish, maybe you can draw some. Some hat on top just to signify that this is the captain. So within this fish, we're just going to draw a second ball that will give us the placeholder for the hat. And a little line that signifies the front of the hat. And with this, we can just refine it right away. And you know that the hats of the sailor, They're not round like we did, but they have this shape a little bit with something on top. Seller fish, Something like that. So this gives this character even more personality because here we are to draw personalities and not only just fish and give the texture to the fence, as well as here. And more straight lines, even if it is an organic form, you see I still keep the lines a little bit bended because it's an organic form. But I still, I want to have I'm straight to signify this guy's personality. And if you want, you can make his mouth here a little open, is an angry salesman. The C is not responding to his command, right? And let's have maybe texture that is also sharp. If you add sharp elements to your character, this signifies danger, strength. It signifies something strict. A personality that is not to be played with. And the softer lines of software fence that signifies the softer personality. So if you just want to have your character look more dangerous, you can add this kind of traits. You can even add a head to him. You know, some patients that have defined head. So you can add that tooth for this guy and have two different shapes. One of his costume, this can give you even more feeling that this guy has a costume and even shaded because we are drawing in black and white. I'm just going to shade it by linking my hand side and width. And very, very easy for strokes of the pencil shaded making it a different color. And given that the impression that this is now a costume, that is a sailor's suits or costume, has all. This is our next fish. Now, let's go ahead and draw the other shapes and see what kind of fishes to reject their personalities. I'll see you there. 6. Old guy Fish: Okay, people, welcome back to our next character. And I hope by this time he already getting excited to see what you're going to draw here. So let's start with this fish and having a little flat. Let's go crazy on this character and draw our little old guy and old fish guys. So we will have his own flesh just sinking down as an old people. And we will just use this shape to define the upper part of his body. And we will have his face looking at up here. So we will draw the eyes a little lower to give suggestion that this guy is everything and his face is just dragged down. Because we can't do hunting or rehab. We can't give any sign of age here because it's the fish. So we're going to use all the significant traits that we can signify an old person to describe this character and where the gels to a body and the head and making him a fish. And that is placing everything face and shrinking the body for this area and give him a big part of his back being his body like that, and having the eyes like that, having the eyebrows as an old guy would have. And you see just with few strokes, just bringing the facedown, having the body hanging here. And we already feel like this character, no matter if you don't see a fish yet, is actually an aging persons, older, older character. What else can we give? Let's give him some bags under his eyes. Just expand the spheres around his eyes on the lower part. Let's make the mouth sinking down like that. And let's bring this side of the body with two ellipsis down. And let's make the lower part just following this curvy line. Going down, what else are we have? Maybe how old people just get more of the traits that they have. Young people, if you have big T, the chief goals all over the place, the nulls go all over the place. It's not the way we used to be, the symmetrical as when we are young. So let's have something like that on this guy. Let's have tiff in this array from this place like that. And let's give him immediately the pupils. So we know it's an old guy and we'll bring the pupils up. He's trying to keep his face up, but everything is just going down. Dragged by the gravity. And of course, we know that the fish don't. That doesn't happen to fishes. But again, we're designing cartoony characters here using these shapes because it's so easy. It's easy for you to be satisfied with the character. You have to design something that looks good. So left give him fins. They are kind of curled and just one so it looks like just one piece of hair on a bolt health like that. What else can we give him a big bushy eyebrows as well? Bushy eyebrows. We know that the fish don't have eyebrows. Let's experiment and give him that. Now that we see him from the side, we'll give him some kind of software fence that are losing their shape. And now we want to have a nice silver. They want this to be obviously a fish. So we need to show a little bit of his theme. And we just pretend that he's famous actually curl as if he's swimming and we can see a part of this fin. Otherwise, it will be covered up there will not be able to see it. So we're going to just, she's a little bit just to create a nice silhouette. And half can be more recognizable as a fish. That's what you can do because I mean, you are the artist here. You can change the shape and form, whatever you like it. And what else we can give him on. We can give him this path here like old people and some kind of different skin abnormalities. Like an old guy and then probably there is a fish like that. Does not surprise me. There are all kinds of fishes out there. If you want, you can just grab some images that you want as a help. But what I'm doing here is I'm drawing that without using any references because I don't want you to get stuck in specific fields, specific detail. I want it to be able to shape the character at anytime. The way you feel fits just to create the right character. And now let's redefine it with a black pencil. Now, our job is easy and fun when we have all the shapes in place and we know what to do. It's the blue line suggests where the right line is. Which line to make thicker, which one of the blue lines to actually ignore to create this great character. And we'll have the eyes here. Everything is lower, the shapes, the skin is dragged down by the gravity. And such way you can make later on All person. These exercises is not to teach us how to draw exactly fish. This exercise, how to teach you how to draw cartoony characters. And if you know how to add an expression to that fish, what, how can you look for a character and in anything? This will help you later on. When you have one, you'll learn about anatomy and when you'll learn about Human Anatomy or animal anatomy, very easily to draw a character. That is what this exercise is about. But now it's fishes because they are going to look like fish. And there will be funny. You can have your story. If you have a story about fishes, it's easily to use such characters that you have designed here and the chunk of the mouth, it's going on top of this tiff. And the same thing here. And let's give him the mouth here. It's sagging down, maybe add some wrinkles here. And you can have this character and draw him later on. In your computer, colored the way you want it. Maybe we'll have some skin here above. Just to complete this shape. You see I feel like this shape is going to quickly in the blue line. So I want to extend it. And there is no rule that say you shouldn't. And that's why I want you to experiment and see how does the shape better fits your needs. And now we add a little bit of stomach here. You see that often the older people has, I mean, I'm not going to prejudice here. And the thing is that generalizing in character design is something that we do because we also frame people in different, in different pockets. So really this person is like that. This person is like that if you just describe them, someone, you would have an image in your mind. But when you break the rules, when you break this prejudice, you create a surprise in your story, in your animation. So it is actually to prefer we break the prejudiced by showing what the prejudice is and then break it like saying no, but this is not person, it doesn't matter. All person can be bulky, can be young. I mean, now. When we know how to take care of ourselves, All people do not look the way they did before. And hopefully that is changing the image of how, how we age and how it look like, right? We're all in this together. That's a little bit of existential questions here while we're drawing these old fish, right? Well, I am not fast-forwarding this video again because I want you to draw with me, this process should be a little bit meditative process. Usually like to draw it because when you like it, your continued doing it, you're releasing dopamine. While you learn, you release dopamine. And dopamine is the hormone of happiness, hormone of interests, of being, of curiosity. The more dopamine you have, the more curious or you're going to be and say, well, I did that. Let me see what else can I do? So I want you to succeed. If you're a beginner, I want you to succeed in creating these characters. Now I'm adding more of these graphic elements and maybe you can add some wrinkles that fish, John have. Both an old person, like dots and we have so much character in this fish. And I'm going to shade it a little bit. Rough lines because all people have this rough lines, lines of life on them. So I can use this kind of graphic elements to design that even anything that will serve me to enhance, to enhance my character. And just draw the themes darker here just to make sure they look as if they're things and they're separate from the body. It gives us more contrast. Contrast in graphics and in drawing is go to pick up because it very easy elements you can show your viewers that this is different from your body. It has different color by using these graphic elements and these strokes you said this part is in shade, it goes below. This other part. This is on top. So it is easy to do. Use these strokes and elements to shape up and give a better suggestion to your viewers. What are they they're looking at? Without them having to guess. So I'm shading a little bit here behind the teeth that we can do because that's how the Tiv comes out better. They bring them up front. Because every time you have something white and you add contrast just behind it, you say that this place is before some other parts, some other area. Now, let's have some graphic elements to cause the same element here just a little bit as skin abnormalities of this old, old fish guy. And maybe you want to make, I don't know, some kind of lines of the eyes. If you're too extreme, we'll look a little scary. But whatever helps you to say this is an old guy fish, and that is it for this character. Now you have a fourth character. Easy and nice. And now let's go for last character and see what we can find there. I'll see you in the next lecture. 7. Happy Fish: Welcome back here guys. And let's get excited about this and see what kind of character do we have here. And let's make this fish a little bit more triangular, like dots does go from this shape. You still want to use the sphere and go down to this part of the fish. Just to have another kind of crazy fish here amongst square kind of fish. And we will, we will connect this area with a theme that goes this way. So curve and curve it up. And we, as you see, we're still using this sphere to create the fish. And let's have seen that goes into, that's a splits into one thing here. And one here being a lower, they're just do the curve here, another curve here. Then connect. Connect this curve here with the body. And what kind of fish we want to do. I started we just changing the shape and I didn't know what kind of fish we do here. So let's create a fish that is happy. Happy go lucky fish. We will define the face a little smaller here, and we'll have the mouth being this big, happy go lucky. So let's focus on happy and have the cheek. Here. This is the middle line, as we said. So let's have the eyes on each side. And this, I will stick out from the fish like that. Let's have the other side of the mouth. Follow this form as the happy fish. And it ends here. But it does connect to the other part of the mouth. So follow this shape, but bring it a little bit further in like that to create this shape of the mouth as if there is flesh in-between like that and that is a fin over here. Let's connect it to them, Vardy, like dots. And let's make this part of the fish maybe like a theme that goes this way and have some tags here. You see that some fishes have tags coming out of the themes, like a doubt. Now, this is a new model of fish. Let's have this fish looking at us happily. And It's a happy go lucky girl. So let's give her some eyebrows like that. She's not the same girl like we did before. She's more like a free spirit. She doesn't have makeup or anything, just a free, free spirits. And let's have some teeth on this fish because after all, it is a cartoon character and the teeth are not going to be sharp because we remember that sharp tip signify danger. So we're going to make her teeth being a little bit around it. And that's it. Now, let's go ahead with a black pencil and refined or a fine. And I would like you to take the same shapes or make other shapes, but I would like you to experiment with more characters. You see the way I decided how the characters are going to be are so simple that you can take this fishes and decide like okay, I want this piece to be female punk character. I want this fish to be female astronaut character. Or I want it to be superhero or whatever, whatever you decide to be, or maybe train conductor. And a guy with a baby and experiment and see, what are you going to get? I'm going to refine the mouth. And when you draw with black pencil, all the lines that you've already drew with a blue band, so they kind of disappear out of your site. You don't see them anymore. You'll see that when you, when you see the image, you just see the fish and not the mouth. Now I'm going to shade this inner part to signify that, well, this is a shape that is inside and we'll continue some teeth inside here like that. So now we already have nice Smiley these. And what else? Let's continue these things and make them more defined. They're not really texture here. They're not graphic element. They're more like skeletons. Skeletons for this scheme. So let's connect them between them to make the specifics of these things like dots and shade this part. Even shade this part, continue the lines. Over here. It's easy, easy work when we're done, when we've done or Groundwork is just very easy to shape after that. So I would like that you tell me what you think in the comments, right? Me. Give me a review that really, really helped me to make more lectures if you liked them. Because there's so many different ways in approaching drawing and learning how to draw without having to feel fear that you're going to fail. That is such a big misconception. There is so much more to learn and teach and to break your free from this kind of whatever old teachings. I mean, I see it everywhere. People saying, as soon as they are going to start with drawing in a film or somewhere. I mean, every time the character says, Oh, I was good at drawing in school, but I'm not good at drawing. Now, why would you, why would you say that? Keeps people who likes drawing and who want to draw in in shock because they will not even try. The same with me. I'm in, I feel the same, but drawing is really not about starting and drawing. The first thing you do is making perfect drawing. No. Now you open your kitchen, your opening drawing kitchen, and you start drawing me. You wouldn't say for the same thing for surgeons are all well, I want it to be served on boards, starts operating on one person, he or she died. So I'm not a surgeon anymore. Right? You, you want to have training, you want to have to draw more and more and in the process you'll be better and better. The more you draw, the more you will want to get better. And e.g. even for me, I don't consider myself done drawing. I, I tried to improve myself, to teach myself new techniques, to open up for new approaches, new way of doing things and being better in what I do is, but what I am now on what I do now, I can do as good as doubt. And it has got me here for a lot of hours of practice. And breaking this stupid convictions that someone has stopped you, that you need to have talent to draw. Now, you need to have persistence. You need to have desire to draw dots. That's what you desire is the main thing. If you have the desire to drop, nothing can stop you on. But if you tell yourself, Oh, that's, that's a lot of work. I'm not gonna do it. Well, then maybe you won't do it now, but you never know one day you will wake up that well, maybe pick up drawing again. So here, there are all five fish characters that were drawn just by drawing simple spheres. By a leading or imagination to a specific trait or character we want to draw. I would encourage you, as I said, to start drawing the shapes like that and come up with all kinds of characters that inspire you to start cartoony drawing. I hope to see you around commands, review, and see you here. Have a creative day guys. Bye. 8. Drawing a Sea World: Hello dear friends and welcome back to the second part of this lecture. Here we're going to practice what we've learned from the previous chapter and become more bold, become mon brave, and have fun. Because now we are going to design a whole SeaWorld and later on we're going to color it. So how do you start designing? Seaworld doesn't have precise structure. You don't see the bottom part of the zeros. You can just do anything you want. Because stones and seagrass and fishes and all kinds of elements there are in disarray. That's why it's a perfect thing to draw. When you start drawing, when you are a beginner. Let's start composing or stuff here. We're going to start with some stones. And the same, the same way, the blue pencil and a black pencil. So we're going to start by designing some stones and again start with spheres. Maybe how spheres, because the stone just disappear somewhere there that we don't see. And we're not going to draw the ground. Because that's why we're free from having to do perspective. Isn't that nice? You can do whatever you want. Now, you do another stone over here. And to frame the composition, to have this stuff in the middle. We're going to do another part here. Let's do a borough, the stone just with spheres, with loose lines. You see, I don't even press upon the paper here. Last two. Another stone over here. And let's break it down into smaller parts so we can have chunks of stone sticking out from this term very loosely. Just with a few brushstrokes, don't press, I don't really think too much about it. This is kind of nice for starting or a composition. Now, what we're going to have here, we're going to have some seagrass. And the seagrass, we're going to use the curves that we used to do in the previous lecture to define the fishes, fins and Jack. So just make loose curves like that. One, maybe make another one because there's a lot of seagrass. Another one is just like chunks of hair. You can use maybe a piece of your hair. I mean, don't don't tear of Harris from your hair. You just need to know that it is something like a chunk of your hair here. And let's do some other parts of the seagrass. We will stop for now and complete it later on when we know where our officials are going to be. Now, let's design of fish over here. Let's do us here like that. And let's have another fish as smaller one like this vicious child. Be over here. And let's very early on decided that they're going to look at each other. So one of these curves that you already did loosely can be used as a part of the line that separates the face into two and finding the perspective of this character. Let's do the same for the little fish like that. And what else can we do here? We're going to do a little even a crap. Now, let's have the crop sticking out here on this. Don't start with again, a sphere, a little bit. Elongated sphere like an L it. And this is going to be the face, the front of our crab. And the middle line of a crop is going to be approximately here. And he's going to slightly look at us. So how do we design the legs of the crowd? Let's start very easily with skeleton that looks like stick figure. So you design one leg here, one here. And One here and one here. And you do that are a little bit back. And this leg is placed slightly behind the other leg. You don't need to draw all the legs. It's enough that you draw some clause here. You draw one stick here and one in front. And the same thing here. One line here, and one upfront. And this one, you, we're going to cover with a sphere. Just a chunky sphere. These are the close of the crop like that. And this one, because the other the other bone here is thinner on the crowd. If you see a crab, you can, you can use that as a reference, is slightly thinner. And here we're going to use this line to separate the crabs claws into. So you have a line that goes from here, separate into. One from here, separate into, and this is just a sketch of our crab almost done there. Now let's do philip or world with more stuff. Let's have a jellyfish over here. How do you do jellyfish? Of course, you start with a sphere. Everything you want to do, you can start with a sphere. And we can have the face of origin fish be approximately here. So you split that spirit into, and maybe even if you want to decide that the face will be lower here, down here. And you find the space, the spot where if the jellyfish head or nose is going to be over here. But luckily for us, jelly fishes don't have noses. So less for us to draw to accomplish a nice line character. And what does jellyfish has really has this, something like a dress over here. So let's design the dress kind of thing. Those that stick out from the jellyfish. And they're just same way like the seagrass, like big chunk of hair. You design it with curvy lines. Does the curve, if you draw on a separate sheet of paper, these curves, that will give you all some more freedom to design it when you are done or when you design stuff right, on your illustration. So we have two fissures. One grab, one jellyfish. What else can we do that? Let's do. What else? I mean, a long fish over there in the distance, some kind of a long fish. Just design it again with a sphere. And let's have this fish wanting to join this little gathering we have over here. So that is done. I mean, let's start with that. To create our CEO world later on. When you do your own SeaWorld, I mean, you can feel this up with different fishes, with a jellyfish, with grabs, whatever you want. But during this process, we can come up with other stuff to fill it. What I want you to draw this with me. So you see a part of the creative process is just going along and relying on your intuition and your sense of your creative sense to draw whatever comes to your mind. Now the sketch is ready. Let's go ahead in the next lecture and refine these characters and find who these characters are. I'll see you there. 9. Drawing the Dad: So I hope you're ready to create some fun, nice characters using the previous part of this lecture. And knowing that this is not really about just fish or crabs or whatever, this is about character. Now, we started with this fish saying this is like a father. I just like finding new more or something, but we're not going to draw find anymore. We will let our imagination lead us to whatever character we want to draw here. So let's design this male character, fatherly figure with some, some cartoony eyes. Even if you want to have an angry character, all the character, because we are doing cartoony characters here. The blobby eyes are very common in courtrooms because cartoons should look like small children. And that's why they have designed this wide puppy eyes. Even though the character should be cute. Let's have this dads. I have big mustaches. So let's design even some mustaches here. And then we can bring his mouth over here. Why not? So I'm going to draw another sphere as a helpline for the mustaches. Mustaches comes from this part down here. So now let's connect. If we say one mustaches finishing here and one more stars over here, just connect this part of the sphere with a curvy line with this part of the mustache. And maybe even use this line That's separate the face into, to be as a starting point for one of them, stash with a curvy line connected with a sphere and do the same for the other part of them stash. It starts over here, connect this part of the mustache with a little chunk here. And now we have the dads must stop. Now. We're going to make his mouth just being over here. Why not like that? Have his thing being lower down. Now, we established that his budget is over here, so it will be nice if his fin is kind of on this side. So he has this big body. And that creates a little older aspect of this character, like a dads character. So we will put the thing over here. Now, let's have another curvy line here to establish the fin. Now connect this part of the father's body with that part of the thing. Repeating the curvy line here and connecting it with the body. And do the same for the next part. Now, this thing is kind of shorter. Just connect this part of the body with this theme. And let's have another thing over here on top of the data using these curve that we did that splits the face into helps and use it as a base of the upper thing. Look how easy it becomes when we actually find the middle of the body. And every element will be designed according to that middle, middle line over here. And it will be perspectively correct. And now let's have his things on both sides. Like we did in the previous lecture. And one in here. One thing here, again, use the curvy lines and connect them as a triangle. Assuming that one of these things is on the opposite side of the body and we see just a part of it here. And if the body was transparent, what else can we do? We can do some worried eyebrows for the father. This time. Maybe we can just make them as a chunk of flesh from this fish like that and then saying, some, do not go deep into the sea. I'm worried about you. And you see that you can draw, you can create a father that is different from the character in Finding Nemo and still be a fish, you can create any kind of characters. So the data is kind of done. Let's go ahead and design the little kid. In the next lecture. 10. Drawing the Kid: Welcome back people. I hope you're having fun. Because now we are going to draw a very cute little fishy baby or young, young kid. Again, we establish that we are talking to each other and you see you vary slightly the line here that I've designed, I have drawn, and I hope you've drawn in the previous lecture that we'll find the symmetry and the perspective of our character. And the kids. Whatever, even if the fishes or babies, they have very large eyes, which makes their heads and bodies look very small, tiny. So we're going to draw two large eyes. And you see that this is kind of squashed in comparison to this eye. That's what, that is. Why, because there is a perspective change for this. So we don't see the whole eye. If you drew a full sphere here, the eyes will look as if they're sticking out as if the eye is not correctly placed, the body. But just squash this theory a little bit to give it a perspective. Change in three-quarters. This is again, a three-quarter position. And we'll have the pupil of the kid looking at his dad. Another two spheres and having them have been a little bit cross-side. Again because that gives cute look up or characters like babies do. And now let's design a small little mouth. And some chicks on this link. Like a little kids. And let's have this part. The mouth having, being a little opened in a smile. Following this structure, these lines on the sphere. So we have the chicks here and we have the perspective change. Me have the little mouth of this little fish. And now this is the face that we get for little kids. Let's design the body. And we assume that this fish will look like his dad. And now I'm doing some corrections as you see, because the sphere that I had as a guideline didn't give me a complete shape for the fish I design. And this is very easy to correct if you do it with a blue line and later on, this will be repeated with the black line and it will look even better. So we assume that this species of fish, it looks like his dad. So we're going to have its fins looking like that. I'm going to have a fin like that and much smaller. And you see that this line is helping us find where the fin is standing here on the body. Because it's the middle line and the fin. It's going to be placed exactly in the middle of both sides. And now we have the kid maybe explaining to his dad with small things that I will not get lost. So you can even design a gesture where the fence and just using them as hands. And we'll have a much larger thing because this is a baby. As if you know, the babies have large feet in comparison to their bodies, will have the thing being slightly larger. Kinda similar to the dots, fin, curvy lines, curvy lines and very loose lines. Here is our baby fish. Now, let's go ahead in the next lecture and actually draw this characters before we continue with the other characters and finding out who they are. I'll see you in the next lecture. 11. Refining the Characters: Welcome back. Now, let's go ahead and decide. Define the character's shapes with a black pencil. Like that. It is now the good part that can depart when we have the characters designed. And now you can just at details, see how they come to live freely. Where the black pencil, they get more and more defined. The little blue lines, they kind of merge behind. And we don't really see them even though they're there. You see how our attention goes to whatever is more concrete and defined. And you should use that in your creative process. And not be afraid to make mistakes and to draw with a different pencil. Just for the purpose, to give yourself the freedom to discover your characters and later on to have a certain definition of your characters. And that's why there will be more appealing, more alive. Because you've done your homework, you have discovered, you have drawn them in disarray and you have discovered who they really are. So I'm going to make a mouth here a little bit open. The dad is saying some, I'm worried about you, just like in the film Finding Nemo, but you can stop the little ones in the water. They want to discover they want to play. So I'm again drawing along, not fast-forwarding. So you can be a part of the whole process and you can see that you can do it too. It's not that difficult if you split all the creative process in such chunks. Until you come to the refining of characters, you see how easy it becomes. One. You've already done characters that I'll lose that are just shapes in disarray. And this is the dad. We can add some graphic elements on top of his body just to make sure he is fish and he's getting better and better shape. And I hope you are having fun here. In the same goal, we will adjust, even do the little character here, and start shaping his eyes. You see, I'm drawing the chick on top of the shape of the eyes because while doing on our homework and discovering this chick shape that wasn't there. We know that the chicks push the eyes usually upwards and we can use that for or fish character. Of course, you will not see that in nature. There are no fishes that pushes their chicks up and smile like humans. But again, cartoony characters are cartoony because they look like humans. And that what makes them appealing to us. So we will continue refining even the fins of the little fishy and the eyebrows a little bit. It starts to look cute. And I hope your fish is also looking cute, which I know it does. Because now you have found the freedom to create and not be afraid of your mistakes. There are no mistakes in drawings. It's just trying out different approaches. So I hope you've learned now that this is so and crashed your disbelief of your cells saying that you can't draw or misconception that has been taught to you from a young age that you can't draw. Because that is not true. And every Illustrator, every cartoonist, no doubt, already has gone through that phase. And now that this is just a process of discovering your characters. Now this little fish is done. Let's go ahead now and draw another character, and let's do the crab in the next lecture. See you there. 12. Drawing a Crab: Okay, so now we're going to do something that we haven't done on previous chapter and drawing a crab. But the thing that is the crop is no different than any other character. Now because this character is going to be from the side, the eyes will be over here. And let's start withdrawing two spheres, each on each side of this curve. And this crab is facing towards us. So the both eyes can be spheres. Because everything that is facing in front towards us is kind of coming to a straight line and the eyes are kind of similar to each other. Let's have the funny cross eyes look. And one, what else can we use from the crab that has this funny look. Let's have him have this sulking, soaking mouth, the crop and another mouth here and some kind of a eyebrows that is sticking out. These are angry, angry, little crab character. And let's refined, refine this clause like that. We have already drawn them. It's a matter just of a refining them. Now, the stick things that we did over here, let's add some flesh to it. So the body here is going to be on front. We have just discovered how long these legs are. If the crab was transparent, which is not. So let's add another line on top of this one and make or stick figure. Thicker. And another one here, and another one in this part and around it up here. So it's not straight, it's a little bit of rounded because this is an organic form. So if the lines can be soft, they can be uneven even. And they are not robots around them up a little bit where they connect. And even here and there is, because we see this part of the crop, there is even one small leg that crabs like that. And same here, but now this leg goes behind. So we will do that in one little leg over here. That's basically it. What else does the crops or has it has this big mustaches. I get that. So just make a curvy line the same as the seagrass in the round that up in the end like a little curl over here. And that's it. Now, let's go with the black pencil and define aural level crab here. So we have the eyes, the googly eyes, as the same as the other characters. Also, because you're drawing the same eyes on all the characters, they're fitting into the same style. And if you draw illustrations or draw characters for your animated movie or whatever you use it, you want all the character, all the characters in there to be within the same style, to have something that connects them. So this is the next step of your development that when you learn how to design these characters, you need to actually learn how to make characters that are similar in design, something combining them. And this googly eyes are now combining or characters that they look similar to each other, which kind of fits within this illustration. And it seems like they're coming from the same world. Because if you have gone, even, even if you have taken my other lectures like how to draw cartoony characters, I'm talking about how you can design so many different styles and characters that are fitting within the same world. And the possibilities are really endless. So this is your next step of development. But here I'm designing all these characters to fit within the same style with this googly eyes. And so we have this illustration summarizing the SeaWorld. That appears to be from the same style, the same illustration. You have enormous freedom to create in different styles, really. If, if this seems difficult to you, there are so many other possibilities which I'm going to talk about and I'm talking about in my other lectures. But I think cartoony SeaWorld is very nice to design. And now you are following, following me along this cartoony world that we've designing. And I hope you're releasing a lot of dopamine and having fun while learning this cute little characters. Or crab is ready. Now, let's go ahead and finish up. Or other two characters. I see. I'll see you in the next lecture. 13. Drawing a Jellyfish: So welcome back. I hope I hope that you've had a nice rest. And now we will continue with this jellyfish character. We haven't practiced on that. So now it's going to be a new thing that you can add to your knowledge. But this is no different than the other fish that we already did. So we have the character over here and we decided we're going to do the face over here. A nice lady, jellyfish way, the blue pencil, I'm going to shape her face around eyes. They are rather round because she is almost looking at us. And the perspective is over here. So GIs, don't have so much perspective change. Let's make the eyes crossed eyes again because that's how cartoony characters are. And let's have the eyebrows, eyelashes. The way we did. The other female fish just have a curvy line that represents one eyelash and another one that represents the other eyelash. And that's kind of enough. You don't have to do all the eyelashes. Now, let's have the mouth. Being cute little mouth for that reason. Just make one elliptical sphere, kind of squashed, elongated sphere like that and split it into just like that way the line. And this is going to be the holder of the mouth. Now, let's shape the whole jellyfish. Just follow the sphere that looks more like a round shape to you because you're, I will guide you to see the perfect line of the sphere when you drew so many lines. And you can still have a thick line to suggest which line do you want to choose. And you bring your eye will lead you to the one that is good for that place. And now we are going to have this part of the jellyfish just do a curvy line that is approximately the same curve as the whole sphere. So it's kind of like repeating this curve here. And now let's have a like a, like a dress, kind of an ornament like that. We don't have to draw a photorealistic and jellyfish. And we don't even need to know exactly how it looks like. If you use that as a user, a jellyfish photograph as a reference. It's good. It's very good actually. But as a beginner, we tend to go into too many details to do it, to do it justice. And because you want to have a jellyfish look exactly like a jellyfish. And that's not how it works with character design and especially cartoony character design. You have, you can be more free. And now we can just enhance these curves that we already did, make them a little bit thicker, stronger, like that. So we can see them clearly. And we can see how our jellyfish shapes up. And that's it. We're done with the first sketch. Now, let's go ahead and draw it with the black pencil. Draw on top of the blue lines. And you see, even though I'm drawing with several blue lines, I don't draw a continuous below one black line over the blue line. I kind of see where the shape is and how I can improve at how I can choose one line before the other to make the character or better and better. And we already have a character over here. This is just details that we are adding. Now let's draw the eyes with a black pencil and the eyelashes. And the eyes here, the pupils. And the other one. You'll see when you draw with spheres, because it is very hard to actually failed. Draw a sphere. If you draw many lines, you can keep the shape symmetrical. You can keep the shapes solid. And this is very important. And when you draw character design, and this is what the beginner is struggling to keep. The same kind of eyes, the same shape, the same form. This mattered. It is really easy. Now let's shape their mouth. Let's take part of this curve like that. And let's add a little bit of curvature on the upper part of this sphere and connected with the curve as it is, and just continue the curve on the lower part of the jellyfish. Like that. I mean, she became serious. Let's give her some smiles, so just enhance some cheeks like adults very slightly. She's a lady, jellyfish. Maybe we will shade the curve a little bit. And here is our jellyfish. Now, let's explore this curves over here and maybe add a similar curve on top. It can be thicker on the upper part. And as we go down to connect it with the edge, it gets smaller. And this one as well. If you want, you can make one of these curves. Just the other part. You can just curve it a little bit to add a texture, a different kind of texture of the jellyfish curve. Let's make this one too. Just a wavy line like that. And this one, don't sweat it too much. If you don't have a perfect way, you will live. I mean, you cannot fail with a wavy line. That's for sure. And let's leave that straight. Just to have something similar as this one. There is a variation of the jellyfish. I don't know what, what do you call those ornaments? And this one and let's have this one being a curvy one with another wavy curve. The last one, and add another curve like that, and that's it. Now we're done even with the jellyfish. Now, let's go ahead and design this love fish and then fill up the rest of the shapes here until we finished or image. So I'll see you in the next lecture. 14. Adding another female fish: Welcome back again. Now, we have another fish here. And what can we do with it? And just decided that the fish will look and three-quarters over here. So let's try to find the character for it. Maybe this is going to be also a lady fish. So we're going to do maybe this time, the eyes are going to be on this curve. You see that I can split the sphere even on this side to find better where the eyes are going to be located on that curve. So I can have the perspective change correctly. That is all that you need to know. If you followed my other lectures before, you already know the methods. If you are new to my lectures, just follow my instructions here and you will never go wrong, right? So these eyes are going to be slightly elongated. And I'm going to do again some curves for the eyelashes and even this one. And we already have this almonds, sophisticated eyes of this fish. And we'll do the irises Here. We have another kind of character already with just a few strokes. So what else can we have this fish? Let's have her fins being also curve like a lady like we did in the first lecture. And maybe we'll have something like that to look like a hair, like a hair cut. And let's have her fins also be kind of a gentle and curvy. Same thing with the curves that we did in the previous lecture. And if we imagine that this body is transparent and this curve continues and lives in a perfect ellipse. Then the other things are going to be approximately over here on the other side. But because we don't see on the other side, we'll just add this thing over here as if it continues on the backside there. And we're going to do again another curve like that and another curve on the lower part and connect this curve like about with this one. So we have oral lady fish. Now, let's add her mouth. This time maybe we'll just add a little mouth, a little cute mouth like that. And we are going to around that shape here. And that's it. Now, let's continue with a black pencil to work on our lady fish. And it's pretty clear adjusted refine the eyes and the eyebrows. Those eyes. And you see how this almond eyes are shaping a completely new character like that. And the lower part, if the almond-shaped eyes and the cute little smile of this fish and her body and the brain, you see everything is so easy if you tell yourself that it is easy. If you relax, if you let your mind guide you, and if you have fun, drawing should not be a struggle. It should be fun. And only for fun, from having fun, you can get better at drawing. There's nothing scary in drawing something the wrong way. As I've dealt million times, but I'll never stop saying it. The way you learn drawing is by deleting this false beliefs that you've been thought. That drawing, that you need to have specific talent. And to draw. Now, you need to have a desire to draw and to improve to do it. So we're basically done with all the creatures for or see image. Let's refine a little bit of stones and seaweed and go ahead and color the image. And I'm going to do that in the next lecture. See you there. 15. Drawing the Background: Hello again and welcome back. Now, let's go ahead and refine a little bit the environment or fish. And we have the environment already there. We're just going to enhance it a little bit. So I'm going over the spheres that I drew. Now, this one here, I will not draw the whole sphere. I'll just keep it as part of this stone, a chunk of stone, and I'm going to continue with that. And another chunk of the stone, you can design a different kind of stone. Some dots are harder or more sharp. There are all kinds of stones on in the sea. But because the shapes of the spheres are so nice to start with when you draw. I'm going to keep this time for you to just learn to free yourself and start drawing your own designs later on. And say, well, those are not only round, they're also different shapes that you can do later, but now, let's keep the simplicity of this. As simple as you try to make things, the better you will become because you will see that you can do it. Now, I've, I've inserted another curved line here as if it's a stone in some bulge from the stone here. Because I needed somewhere to put those seaweeds. And sea width is usually starting from somewhere. They have a connection. Jewel stone or the bottom of the sea. So I'm just having this curvature signifying that the stone is split into separate parts and their different shapes of this down just for the sake of it. So this one is done and we have one curve over here of seaweed. Let's add another one. You see that I keep my hand almost lose like that. Drawing freely. So this is all SeaWorld. I mean, we don't have a place. We need to have some space there where the drawing can breathe, so to say, so we will not fill up with more stuff. Now, let's go ahead and color or an image. For that sake, I have used a very thin paper. I've used such paper because the blue lines and experimentation is better on a thin paper. If you go and do that in, on a watercolor paper which is thicker than your tire, the paper and you will not be able to do those many lines. So this is for the purpose of this exercise. But if you want to do the same drawing and watercolor paper, you should use a thicker watercolor paper. But you will have to train first on paper like that. So you know that you can do it and you can play around with the shapes. And don't be scared to renew expensive watercolor paper because watercolor paper is more expensive. So for this purpose, I'm going to tape this paper on the table. So while the paper dries out, I want it to be straight and I want I don't want the paper to bulge. So I'm going to do that and see you in the next lecture. 16. Painting the sea: Hello there and welcome back. So I have prepared here for water coloring. You can also use pencils, crayons, or whatever you actually like. I'm going to use watercolors. I'm using just a jar from jam jar that is empty. And I have these watercolors. I really am a big fan of Russian watercolors. They have really nice coloring. I mean, you can use whatever you want. But I'm a big fan. I'm not Russians though. I don't promote anything. Just whatever pigments I find are, give fresher look. And these are different colors that I've bought separately. I don't know which brand it is, but you can also use your kid's watercolor. It doesn't matter for this exercise because you're gonna get better, young god, you're gonna get more picky on for your watercolor, whatever materials you use. But for a beginner, everything is actually good. I have all these brushes here, but what we end up using is basically just one big brush and then maybe just this middle brush and one thin brush for the details. So we end up using just three brushes. And the thing is that brushes for watercolors, they are really expensive. So if you're a beginner, don't stress out if you don't have this fancy, fancy brushes, It's most important that you color it and that you have fun. So use what you have. And I have also this little palette, which I end up not use it eventually because the best way to test your color is to have a separate sheet of paper that is similar to this one at a site. And just try your color to see that this color is good and it's ready to go. So I'm going to start with the background and I'm going to color the C. I'm going to just blue color. Going to show you here how I tried it out. I'm trying out this one. And as I well, that's good. Maybe I'll mix up another darker blue color. Just go ahead and pick whatever color you want and start coloring. You'll see that I've already taped the corners of the painting. With this taper, you see that the colors are being drying very, very quickly and they're not spreading around too much. If you have a specific watercolor paper, then your colors are making these big spots. And I'm not drawing as quick, not absorbing the color as quick. Which gives this nice watercolor look. When it, when I was a kid, we were told or we're scared to color outside the lines. But the thing is that with watercolor techniques and the real watercolor artist, they actually prefer to have this effect where the column merges with another color and it spills into another area. And this is actually a good thing for watercolor. Watercolor is one of the most difficult techniques to master. Just because of that, because you need to, you can add more color to one area. At some point, your image will get you paper, not your image but you paper. We'll get tired of. More collide, will not absorb more color. Watercolor is where you are supposed to see the whiteness of the paper beneath. And you want to have these spots looking unfinished, looking in this array. And that keeps your drawing look like hand drawing. Because you know, in this age of digital drawing, we are trying to simulate painting and drawing by hand. That's why we invent. We download brushes that simulate painting, even when we draw digitally. So before, when we were trying not to color outside the lines. This time, it's actually something good to have an evenness to have different shades of the same color and to look that it's done by a human hand. This is authentic. So don't be afraid. But as you see, I'm actually in trying not to go within the lines that I already drew. I want this drawing to be cartoony. And four cartoon drawing, I am aiming to have just clean shapes. So I'm trying to color around this edge is that I drew. And as you see, I actually don't. I didn't go with the black pen cell protists stones because there were so simple. So I thought maybe it's good that just lets start coloring and let's start outlining them later on with a color right away. You see that all methods are good. And the thing is that I'm painting all this in front of your eyes. I haven't prepared a clean painting, so to say. But I'm painting along with you and I hope you're painting with me. Something like a meditative process. So I want you to see that this is a relaxing process. And even the mistakes that we do. And I do and I hope not. I hope, but I think you're doing with me with a set of like, wow, I drew this line here and now you're showing me something else. I want you to get used to the process being a discovery rather than a set in stone kind of process. Because along the way, when you have done this footsteps and you have drawn them, painting your own cartoony characters and you've learned how to do it. You will understand why I have taught you that way. When I was a beginner, I wanted to be certain that I would never make a mistake. I wanted to have a method that to me that doesn't that doesn't waste my time that I knew for certain that if I do this and this and this, I will never fail. But the thing is that the more I learned, the more I realized that actually the whole failing is a part of the creative process and a part of me actually getting better. And that's what will happen also with you. The more you paint and draw and follow me with my mistakes here. And the way I do things, the more you will learn that this is a process and it is not set in stone. So now I'm going to be quiet because it has a lot of blue to fill in and put on some music for now. And I'm going to speed this video up. Have some meditative filling up off the blue, the blue area of the sea. And I'm going to just notoriously fill in the blue part of the sea. And I'll see you when you're done. We are done with the sea. And you see that we have very nice tones here merging with one another using different shades of blue. And actually having it a little bit in this array gave us this feeling of watercolor of C actually at SeaWorld. Use the advantages of whatever medium you're using to convey that feeling that you want, like SeaWorld, e.g. and actually so-called happy mistakes are happening here with these spots here that are in a little bit in disarray and these are not really planned. We've just tried to cover the area with blue color. And the medium gave us this really nice spots. So we're done with C. Let's now go ahead and paint the elements of this drawing in this painting, I'll see you in the next lecture. 17. Painting the stones: Welcome back. Now, let's go ahead and do an paint. The other background stuff that are the stones and the seaweed. I hope you have waited a little bit until you background is dry. So we want the color to be actually separated from one another because we are doing a cartoony painting for the Stones. I'm going to choose I kind of yellowish gray brown colors and I'm going to mix them up. Yes, I'm taking a little bit brown, a little bit black. And because of watercolor has this transparency, black never gets really black. It gets a little bit gray. So I'm going to use that to paint the stones and I'm going to paint the darker area. Where is the shading first? I'm going to paint a light layer of this grayish area. Just leave a little bit on top of the stone, white. Because later on when I do another layer of those of the gray color, this area that is white. Now it's going to look a little bit like a light falling on top of the stones. And now I go and paint the other stone that is on top of this one and just follow the contour of this previous tone. And use that shape to form the stone. Still, leaving some white area on top of that here. Because the color dries really fast on that piece of paper. It is also an advantage that we can continue painting. You see also, I can actually hear on paper mix the blue and the black to give a slight different shading, e.g. on this stone. That's the advantage of watercolor. That is a little bit behind. And still without watercolor, this color on my brush, I won't do even this one. And I'll spread a slight piece of this color a little bit outside as if it's a shape, a shadow falling from this stone on the part of this, don't use this small accidents, so to say, to make your painting look better. And now I'm just going to repeat even this one here to add more shading and more contour and combine it with this one. Now we're done. So let's do the same for this down here. And I'm going to use again a little bit of the blue from my color. And let's paint. The stones. Come to ring around the area of our elements because we want them to be clean actually. And you see how little you need to design to paint this grayish color and contour on the past. And sometimes if you want to have it more, if you want to have a color on your brush, you just take some color from the paper. You don't take of color from the color just from the paper and you'll get some more color to work with. Like adults around or crab. Here. Now we are going to be free to working, to work with our elements. And now that we have left this white area, we need I'm going to pick up a little bit of a yellowish color. Just very slightly. Yellow, orange. Very slightly. And I'm going to just see how slight it is. Yes, it is a very slight color and I'm going to go over these white areas. It leaves a little bit of a contrast and signifies that there is a bouncing light falling on that stone. Given it a three-dimension. The same here, the same thing here. And when I'm going with a wet brush on top of this already grayish color. The yellow color picks up of this grayish color, merges it with the same element, the same stone. And you see the good part with this, with the outlines that we painted and we drew is that it gives us this very nice lines here. It looks like a cartoony, cartoony painting. So that's it for the coloring of the stones. Now, let's leave that to dry. Before we go ahead and do the other elements and take a break, get some coffee or whatever you need, and then come back to complete the rest of the painting with the other elements. I'll see you then. 18. Painting the seagrass: Hello there and welcome back. Now, let's continue with the other elements or painting is dry. I hope yours too. So let's do another, another background element, and it is the secret sauce. It is much easier to start from the background elements and have them dry and have some basis to work both with the elements on the foreground. So again, I'm going to choose a couple of green colors and I'm going to try them out to see how how they merge together. This is kind of more softer green. It is not like the screaming green color and I'm going to try it out. It's good. So I'm going to mix it with some other colors to see can I get a better green color on the paper? And this is good. I'm just going to start outlining this green color here. And later on, we're going to outline the elements to get even more solid and nice look on the watercolor. On this painting. There are so many ways to paint with watercolor. Multiple ways to paint really. And when you become good with it, you can choose your own style and you can experiment with, with watercolor styles. But watercolor is maybe the fastest and easiest way to, to color a painting. Of course, besides digitally. If you're uncomfortable to do with digital drawing, go ahead. But there is something meditative that is happening when you paint and draw on paper. And the feeling that you cannot undo keeps you sharp, keeps you alert to what you need to do. And as you see, I haven't used any eraser here. And there are two ways, two reasons why I don't do that. It's, the first one is that when I draw with the blue lines, I tell my brain myself that this is just a sketch, this is temporary and I'm allowed to make mistakes, I'm allowed to explore. And if I erase, that means that I have made a mistake and my brain is like, wait, I have to be I have to be careful here not to make another mistake. I have to see that this doesn't happen. And then you get very rigid in your creative thinking. You get scared that you're going to make a mistake and you will never, ever alone drawing. This is of course not true. So not erasing is a good way to train your mind. To say that I'm allowed to make mistakes. And this is the way I actually learn how to paint. So I'm just going to speed up and finished these elements. And you do that on your own as well. And I'll see you back here. When that is done. We are done with the silhouette. Let it dry, and let's go ahead and color. The main thing here is over characters. So I'll see you in the next lecture. 19. Painting the base color of the Fish: Welcome back. Now, let's go ahead and color or characters. And I'm going to start from this one because then it is easier. Or if I have some white spots here not to bother with them, not to destroy the painting. I'm going to start with this one and just hold my finger like dot and tried to color. So I don't destroy what colors on this side. And one thing is that when you have a background that is rather cold colors, cool colors are blue and green. And this shade, this side of the palette, to have stuff appearing upfront in front of us is rather using warm colors. I'm going to start by making these fish yellowish. Using yellow or red colors, warm colors basically, I will, I'll make it pink maybe. Let's have if there is a pink here or use orange, red. Let's try this color. You can use your own colors. This is good because this fish is a little bit farther away. So I'm going to use the yellowish color for these characters in front. So I'm going to use the pink color to color this fish. And at first, I'm going to color all the details with much more water and less color. And I'm going to repeat some of the areas with another shade, with another pass of the same color. To also give it some shading as if it is three-dimensional, using the same color, but just repeating it on top of this color. It's that easy. Now, that is very easy way to make your painting and your characters look three-dimensional. There is, of course, a lot about shading. To learn about shading. If you want to learn about it, you can go to my course, the fundamentals of drawing. And there you will learn how to the principles of shading. And it's not with color pencils to see how the shape, how the shadow behaves, and the light behaves depending on where the light is coming from. But for this one, I'm not going to go in depth with these principles because here we are. Learning to draw character is very basic and it's further became beginners. So it's the, one thing I will tell you is just like the way you say it. Simple shapes here using this character was all. Now I will let this character dry before I apply another layer. And I'm starting with this character here. So I'm just going to use my yellowish color here for the father. Maybe a little darker, yellowish color. I'm happy with. And paint the dad that texture. You can use more water again to have an initial ground color. And later on we will add another layer, even to say this one. And just add another, just add more volume to the guy in the diet. So if you use more water when you have your colors, it will be rather pale color. It will be absorbed by the paper and it will pay out. I'm going to leave the fence white for now because I'm going to color them differently just to have more fun with this fish. So now let's paint the ground color of the kid. Let's have him be more orange like that. Just to have different colors and just have fun with it. Orange little guy, something like Finding Nemo, but not quite. This is good. I would like you to find your own characters, not just the characters that you already know. And if you, if you are free to design whatever you want, well then you will not be scared to go ahead and play with the features. Instead of trying to simulate exactly one character. Again, I'm talking about this over and over again. The freedom to create. Not only the freedom to draw, but the freedom to create. Because you can redraw one character. But if you're scared, you will not be able to actually go ahead and draw your own characters later on. And that's what you want, right? You want to be able to draw your own characters and whatever you want to use them for. So I'm also going to add different colors for the fence, the tail. So now let's go and color disk grab more, even more orange. You see that we covered all of our patients with warm colors. And I'm going to mix red and brown and orange. Mix it up here, see, while it's in my scholar even pick up some yellow from my palate. That's it. Watercolor is a very cheap way of coloring because there are a lot of watercolors out there. Okay, I guess this was a course that I have are a little bit more expensive, but not much. This brand is not as expensive and you can use any other watercolors that you want. I mean, because I have I'm used to learn to use colors and I'm getting a little picky, which you will also be when you become better and better. So for now, you can use anything you want until you get picky. Then you go into the store and say, it's going to be like candy shop. You to discover what kind of pigments the other colors have. Some water colors pale out very quickly and the color is not as fresh as the applied. But again, that's for you for the latest stage. And now I'm painting on top of this mustache here because I'm going to draw with black and that color will not interfere with the orange I just painted. And the black color is dominant on top of all the colors. I'm just going to paint on top of that and make my life easier. And it is such a nice process. Putting on some music, painting, whatever you want. And now SeaWorld, I hope that you can take this exercise and just create your own characters, your own fishers. See what you can come up with and enjoy the process. Getting better and better at drawing and painting and character design. And I hope you will be very surprised what you can do. This very, very simple technique. You'll see that you're always been able to draw and paint. You've just been told a lie and you've been sticking to it and you haven't been able to even try because of this paralyzing stupid lie that the society is telling us. I mean, in all the films there is someone that says, oh, I can't even draw a stick figure, but that is not true. So we have our crab ready. And now let's go ahead and color even the ground color of this lady here. And jelly fishes, they are usually blue. So we're going to try to seek to paint a different blue, maybe some violet and blue here for the jellyfish. And the little blue dots to make it different from the seat. Use more color. So a little bit violating. There is violet is a little red and blue colors. So we're going to paint or jellyfish, and they are also rather white with some kind of a bluish tone to it. So we are not going to even paint the whole jellyfish. We will leave some areas here that are completely white. Or a jellyfish can look really like this, transparent. To find the texture of the jellyfish, we just dealt with mostly water on your brush. And now I'm going to even complete these elements of the jellyfish with just a little bit of this color. And leave even a lot of white spots. On purpose. Have these happy accidents. To signify that the jellyfish is transparent. It's not completely this color, but just the shades of it as is bluish violet. And now you see that I just dotted with another brush here and immediately I'm getting some volume of the jellyfish or don't even need to have a dried yet because I can use this very, very light jellyfish color that I've put to signify that this jellyfish is not quite actually round. It has volume to it like that. And this one just started a little bit, so it is merging within our picture. Now the one we are almost done with the main coloring of the objects and the jellyfish. And I'm just dotting a little bit underneath of these elements here of the jellyfish to create more shading. You see that now it looks like if they're coming from underneath the jellyfish. It's another trick. And like that. And this one here a little bit, and I'm happy with it. And so let the image try and let's go ahead and finish up the elements of the characters. Take some break and come back here in the next lecture. See you then. 20. Adding elements: Hello there and welcome back to this session of coloring or designs. So everything is dried. Let's go ahead and even add this small details that we have been waiting for to do. So, I'm going to start and add some details on this one on now, first I'm going to fill up all the empty spaces. So they are done and I'm going to do the mustaches of the DAT kind of brownish and Brian, brownish red. Let's keep it colorful. The way we've done so far. Trying it out that scan them good and fill out this mustache. Make him like a dad with them and stuff like that. And you see that? I'm just drawing with this pointy part of the brush. The best thing to use with the brushes is when they have this point. You can work easily around the edges, the contours of the objects. And usually you end up using just this one brush the whole time. Besides this larger areas where you need a larger, thicker brush, you can save time. So the mustaches, Let's find a different color for the fence. And I'm going to give him, again a warmer color, orange but just slightly darker. So I'm going to mix this orange and this. I'm just trying it out. I don't really know what color do I want and then mix it with this orange here to see what do I get? I'm going to start with that. It's going to be different than the orange color, but not so much different. So it sticks out from the character and it feels natural, feels like as if it is a different character. The things I don't want that, I just want to have it feel as is a part of the guy's body. So I'm going to fill this up. And until I do the other characters this, hopefully it's going to dry. And I want to have a little bit more color for the fin on the back. When you have an element that is behind some other elements, darkening it is going to create the illusion that this object is behind something else, that it's not upfront. So the same way I did this spots here, to add some shading. I gave the illusion that this path here are on the backside of this area here. So this is another trick because what we do here is we just draw a two-dimensional image. This is a flat image. And we as artists, to create the illusion of space and the illusion of volume of three-dimensional objects. And that's where the learning comes in. You can create this characters easily, but then you'll have to train yourself to be able to create the illusion of three-dimensional. But you don't always have to do that because sometimes you would like to have a two-dimensional object and that's okay. There are so many different styles. And now I'm going to get the fence of the kids being red or reddish. So it is like while kid gets older, you get paler colors, like his dad. When he is young. It has this nice bright colors, orange and red, and so on. And I'm going to add, while I have more color, a color on this thing that is behind the body to give it the illusion that it is behind. And now I'm going to wash out the color a little bit too thin to the other things that are on front. So they feel paler and they feel as if they're upfront. This body, now here it feels like it is the same, but that's because I have more water. I'm going to wait until it dries a little bit and I'm going to erase or absorb some water with my brush when I clean it up so it doesn't get too messy. Yes, you can do that. This water is going to absorb. So you see I'm just going to dot a little bit on this spot and absorb some water and wash it off. Keep my brush rather dry here. I can just leave some water on this test piece of paper that I already have there like that. And these things skills already more brighter. And when they dry out and it's going to look even better. And now I'm going to wait for this stuff to dry. And I'm going to go ahead and do some details or some shading on this woman here. As always, I'm going to get again this pink color. But now because I'm going to put it another layer on this lady is going to feel immediately as the darker areas. So I don't even need to have a darker color. I can just have the same color and just go over the lower part of her body to bring the illusion that there is a light coming from above, from the sky on top of the fishers. And I'm going to even darken this thing even more. So I can bring the illusion that it is behind her body like that. And some shading here around this thing to give it a more true than men. And some shading behind this thing to make it look as if it's sticking out from the body. Like that. Small, small details really is enough to give the feeling of three-dimension. And here also on one side of the thin contour and a little bit here. And that's enough to have the fish feels three-dimensional. Now let's go ahead and do that for the crop which is now dry. We're going to live this elements to dry. I mean, not going to touch it yet. So I'm going to go for the crab. The crab is pretty dark, so I'm going to get another, a darker color, brownish color. And I'm going to try and out and murdered here with other colors. That's nice. Let's see. Start from some small elements to try out the color before I applied on the body. That feels good. And now I'm going to leave this part of the crabs leg here and just enhance the color of the leg that is behind the front legs. Again, for the purpose of three-dimensionality, giving the illusion that something has depth. And I'm going to just share lift by the lower part of the crab. That's because this part is the crabs face. I'm going to be rather gentle here because here we have some space on the fishes that are not their faces. But here we have crabs mouth and face and we want to have clarity here. What is what? So I'm just going to be more gentle around this area where the flesh or the bodies meeting the crabs face. What we need to convey is actually the most important thing is the face of your character. And that's why films, they are so thorough with lighting the face of the actors and actually cheating the lights. So we have more light on their faces, on their eyes, even though sometimes the face maybe in shading shadow. Because the face and the eyes of the character is what connects your character to your audience. And that's what is going to make them feel for your characters. So that's why I always, this area are so important where the face is. We're done with that and we're going to leave these elements to dry a little bit and come back to now, paint the eyes and face whatever shading we have left and continue from there one layer at a time. I'll see you then. 21. Painting the Facial features: So most of our colors are dry. Now let's give some volume to these characters here. The yellow, which I'm going to take some more orange here for the dad. Tried out like that. And I'm going to just go over with another layer, even the mustaches over this is body to give it an extra layer to make volume like that. And now I'm going to even all I'm here counter and give some depth around the eyes, the flesh around the eyes. Whenever you have your brush with that color. You can use it to add shading, whatever you have done because this is a part of the dad's body. I can give him some more flesh to enhance these eyebrows here. That three-dimensionality, the eyebrow, such a small, small dotting shading is just enough. And around the fence, again, like we did here to connect this thing to the body. And that's enough. I'm going to leave that to dry and continue with the sun here. So I'm going to get some more orange brown, some epsilon brownish. And I want to make sure it's not too strong like that. And let's go ahead and add another layer here. Make sure your brush is wet. So you don't color wet to dry brushes because if the brush is too dry, it's going to absorb some of the color that you have already put. The secrets of the watercolor. If you have dry brush, you can erase stuff that is already there, but there is still a limit to how much you can erase until that paper tires out and it's actually started looking ugly then rather than giving you the effect you are willing for. And again, we're painting on a non watercolor paper. So it is, it doesn't tolerate too much. But that's enough guide. We have actually gone through all the elements. Now, let's go ahead and paint the most important ones, the eyes and the other small elements. Now, we're going to do actually when the volume for affordable stashes, after that, they are now dry. And I'm going to get some more brownish and put some red by picking up some of this color on my palette. And go on top of the brownish color. And each color has a different pigmentation. Pigmentation is the pigment is what elements and the color is made by. And they react even them differently on the brush. So it's just not one thing to think about. So if you have decided to make these things in watercolor, you will have an extra challenge that you've accomplished. Where this painting, I'm also doing some elements of them will start off the dads and giving them this graphic element of chunks of hair that's almost starts to enhance the feeling of mustaches and they kind of look like fins themselves that enhance the thing that he is actually a fish like that. Now, now let's go ahead and work on the eyes, those elements and I'm going to get a thinner brush. Let's see which one is working. Well, I'm going to try this out on this piece of paper. And my black color is already almost gone. Because I'm using it a lot. But this color is really good. It's really black. Black colors. Or rather grayish when you put them on paper. This one is nice and I'm going to use that as a contour for the eyes. Now because I work a lot digitally, I would like to zoom in, but yeah, I can zoom in. That feels awkward to me even about. It's a good exercise. Sometimes to work with manual elements and actually remember how it used to be. To work manually. We're so spoiled. Now with digital tools to undo, I mean, it's good to be spout. It's nice to be able to go back and undo stuff. But when you're learning, again, I'm going to repeat it. What you train here is not only the way that you can draw. To be able to draw, you're also trained how you can be braver. Allow yourself to make mistakes. This is very important for you to actually be able to free yourself and draw and paint. And now I'm going to even counter her mouth with the same color because the color is now washed away, so it's not too black like that. And I'm going to continue with the other fishes. I'm going to wait for the dad dad's mustaches to dry out and I'm going to go, We'll work on this graph. Now I have too much water. I don't want that for such elements. In here, you can actually go ahead and even use pencils, colored pencils. You can mix media. It doesn't have to be. Just one thing. When I was in school, the teachers were so precise and there were so strict of what kind of medium we should and should not use. Now was this snapback way of thinking that a true artist should it is. And that while I grew up and tried so many things, I've learned at all. This is just someone's opinion. It's not true. There is no a must watch you can use and how you can use it to create what you want to create. And you'll see I'm just leaving one white spot to give the eyes more life as if there is a twinkle in the character's eyes. And do this nice cartoony eyes like that. And I'm even going to go ahead and paint and draw his most dashes that are black like that. So if you want to try to do that with crayons, you will not have the problem of your color having too much water or too little water. But also the watercolor feeling to it. It's kind of nice. It gives you this artistic look that I still like very much. I mean, that's why if you see children's books, even though we have digital tools, most of children's books illustrators choose to work manually, and they chose to work with either watercolor or acrylic colors to create this feeling of, okay, here we are done. Let's do that for all other characters. Let's paint the little kid. Now. While we are waiting. Not, Let's let's do the dad because this spot here still not dry. So I'm kind of worried not to touch the spot on the dad's mustaches and destroy his mustache. I'm going to work with his eyes like that. And he's worried little Dad fish like my son Don't go in there in the deep waters like Finding Nemo. And this one. You see this black colors will dry out later too. You can still enhance the eyes with with a pencil. And if you want to fast-forward this lesson to the end, but I'm just using dots that time to tell you small secrets and insights of the drawing and painting world that you might use later on. Because sometimes the most important lessons I got from my teachers, or are we, we're not talking about exactly this particular lesson. But when they have been, they have prepared me for how to think as an artist and what to do when I'm discouraged or when something is wrong because I wanted to have rules set in stone. I wanted to know that this and this, and this is the right way to do it. And my teacher has helped me to free myself from these misconceptions and actually give me more tools to be able to draw whatever I want it. That was a good thing, even though I was a little disappointed that they were not strict rules. Eventually, that was a good thing for me. And now I'm going to paint even the mouth for the little fish here black because this is dark spot when our mouth is kind of like a small hole that is darker. And if we have it with the black color, it creates also depth. And I'm going to even paints the eyebrows, the little fishy black and contour, even his cheeks here with black like that. And now it's or jellyfish left to have contours on. Let's do that. Well, let's wait for the color to dry before we continue because I see a lot of spots that are not dry. And take a little break and come back here for the next lecture. 22. Adding more details: Okay, Now we have everything hopefully dried out. Dry it. It's difficult with propositions and English. Well, actually, I speak five languages, so as thick none of them perfectly. But as long as I convey what I need to convey, that's not a problem, right? So let's continue with our Lady jellyfish. Paint her eyes. I'm trying to support my hand with the fingers so I can be very gentle or the eyes. And I'm still doing more lines so I can be precise and I don't need to draw just one line. So if you're trying to be perfect without Don't worry about it. I mean, that's that's the way I do it too. Now. I had very little water on this one and my other, I became too dark, so I'm adding more color even on the other eye. After a while you'll get a feeling of what you have to do. And the thing is that when you're done with this painting, you can photograph it, scan it, put it in Photoshop and origination and readjust whatever is. You can get wrong, enhance the colors. You can use that. But if you don't have Photoshop or you're not knowledgeable and that's fine too. Again, most of the artists that are illustrators, they, they paint on paper. And publishing houses actually prefer that because of the field. This paint, painted feel to it. So they're more successful. I managed to shake the picture a little bit. That's not a problem. Now, let's start countering the rest of the stuff. And I'm going to use a brownish, reddish color for the others counter and try to keep the colors closer to this, the colors of the fish. So I'm going to counter first dislike fish and I'm going to choose a brownish, reddish color. Because I want to have a counter that is not a disturbing too much. The color of the fish itself, just something that is keeping the shape contained within this form. It enhances the shape of the fish. At the same time. It is not disturbing. You see that we have painted, we've drawn with blue lines, with black lines. And still, they are not disturbing to us. And even though I like to leave them there, because it enhances the feel of this this image being painted. As you've already understood. I really liked old school stuff. Now that we have artificial intelligence coming in and doing paintings, doing stuff. And you can order. A watercolor painting is still cannot replace. The feeling is just a job for me. I mean, everything that is just a tool that we can use to paint. It doesn't mean that learning to paint is a waste of time. Know, whatever on artificial intelligence can do. It can not replace your imagination. It's just giving you a different image. But sometimes you don't want the image to be that way. You want it to paint it the way you want it. And you have to do it yourself. And the meditative part of doing it. Painting, it's so nice. I'm just countering this fish and it's just a nice, tedious job to do. Sometimes I enhance some part of it like that. And the fin, you see the drawing and painting getting better and better. And I hope you are enjoying this process. With me. It is a nice thing to do. On a Sunday morning or afternoon. If you are a grown up. It can take a glass of wine or anything, just disappear from the everyday life. In this painting process. If you were a kid, you're done, you can skip the wine. I guess for now. I don't guess. I know it can skip the wine. This fish is done. Now we can also add some elements to it, like have these fins with watercolor. Her skin just to give an extra texture to her. And it's going to look better and better. Signify what kind of texture there is on her. And now, let's go ahead and do the diet with some brownish red color, some brownish gear. Like about counter the body of the dead. Now, I'm going to fast-forward. I'm going to stop talking and leave you to the nice process of contouring like that. Now, let's also color the little guy here, where it's slightly darker, darker, brownish because it's darker so we need stronger color here to be able to differentiate it from his body and have a nice contour. Going to use this brownish color. Dots and counter, even hear whatever you want to ask me. You can ask me in the Q&A section or in the project section. But I hope it is politically pretty clear to you why I'm doing the process is pretty, pretty straight up. And the more you do it, the better you will become. You should not worry if you cannot do things the way you want them. Because I know in your head you can see clearly how you can do it. But for some reason your hand is not following the things that you've seen you had. That's totally normal. You will you will get there as long as you continue painting, continue having fun. And now I'm going to even add some color on the chicks to give takes even more volume. That's too much. Something is tomato, just add more water to it. And even though it looks darker now, it's going to fail out and the water will disappear and you just have enough color to give this volume to the chicks and even hear some more volume. So I'm painting on top of this line using a slight little bit of the lines scholar. In these volumes section that I was talking about like that. And I'm going to give the things maybe a little small dots like that for these fish. Slightly different from his dad, but still some texture on the body. So now let's do the crab. Even darker. Maybe some brownish gain some reddish. To have our painting crispy and nice. And not too dark now to black because I don't want, I don't want it to contrast too much with the eyes and the face. It gives a nice definition to the character. You see that it is, it is a long process. Not the creation of the character, but the completion of a full painting. Everything takes his time. And that's how which, even if you do it digitally, it will take its time. Every little detail needs attention. And that's the love we put empty or paintings. When the character is complete with pencil. The tedious job of putting in the time and the love into the painting starts. But when you have your character down, this is just a pleasure. I think what the most, the biggest struggle as a beginner you'll find is to create, just start creating these characters, and to convince yourself that you can do it. And I hope with this easy lectures that you will understand that you can do it and you have created pretty nice characters. Just post them on the Q&A section. Comments and review the class if you like it. That's what helped me create more classes for you. Because there's so much more to learn. I mean, even meet with the experience that I have. I never stop learning. That's the best part. So I'm going to have some slight small dots on the crop here to make him, to give him some texture and have him look like this other characters. Now, let's counter or a last director, the jellyfish. And because it is blue, I'm going to counter it with similar color but dark. So I'm going to get this violet color, makes it maybe with some Lewis dried out. Just the fact that I have the number as well give more strength. This color. And the counters will look nice. We do have the counters already there with or from our pencil drawing. So this is just an extra to have the painting, the character merge into these watercolors style. Differentiated from the background. I have it more clear as a character on the foreground. Just have it look better. With that counter. Contrast is something that makes the characters come to life. Because, I mean, if you think about it, you can even leave it like that, but it will not look as good. There is always another level to go to to make the painting better and better. And you will learn dots. The more you draw, you will find your own style. And you'll see how vast this creativity pool is and how much you can do. So I'll be excited about it. Because there is much more to come. It's just such a nice journey to take. And these are tedious, small elements to do. So, I'm going to fast forward and go ahead and contract out. And you do that on your own time. So we are done with all our characters. And whites are not yet another time. Let's let it dry and finish up. Or backgrounds Before we are. Before we can finalize this painting. I'll see you in the next lecture. 23. Finalizing the Painting: I'm back. And I'm glad to see you here. Now. Let's finish up. The contours are four elements. And I'm going to counter the sea grass with some dark green. And I'm going to check out which green actually is working because the greens have different pigments as well. Now my brush is too dry, have to keep it not too dry and not too wet. So this one is good. Let's counter even the grass. And you see how the painting comes to life bit by bit. And now you can even paint for those of you who are here with me for a previous lectures. I'm glad to see you here again. And thank you for signing up to my courses. And you know, the methods I work with from designing characters to finalizing an image. I have a digital course as well here of how to create cartoony characters in Procreate, and how to easily use shapes, and how to use contours to create your cartoony characters. There are so many different ways that you can do this. And I guess the biggest discovery of you who have thought up till now that you can't even do one character. Is that how many other characters you can do? Now, using this new matter methods that I have here, you can even create fish characters that have personalities. And the most important here is using the traits of the fish, like fins and shape and everything to create a cartoony character. Because cartoons, there are humans. That's how we create cartoony characters. Using any kinds of animal or even in animated objects. You can go to that course and see how you can turn cups and glass and fork and spoon into cartoony character. Another way to learn how to use shape and form and add personality to it. And I hope you'll stick around for some other lectures that I'm preparing of how to actually get used to design forums. How to figure draw. Because humans are one of the most difficult creatures to paint and draw. We have so many elements that have to fit together. Balance and we have legs and arms, spine. All these things need to fit together to create a believable human being. And it's much easier to do that with fish, e.g. so I hope you have enjoyed this lecture. Now I'm going to even give some graphic elements of the grass with small lines within the grass as if it's structure of the seagrass. And you see that I'm now only working with the seagrass because I have the green color in my brush and I'm trying to keep the rest clean. I could work with stones as well, but I'm going to leave that for the last one. I have the other color on my brush. And you see now that I also use some darker spots. The color to convey even volume on the grass. And it takes very little to do that. So now this grass and the grass drop from the sea grass. And I would suggest, to start with, I would suggest that you keep it simple and draw simple shapes until confident. Because you will, you will be, it will be easier for you to see the results and the results you see with your painting. The more confidence you will become and you will continue drawing. It's not that you can't draw a difficult drawings, but I just want you to get too, don't get discouraged if something is too overwhelming for you. But if you are ready, if you want to have the complicated paintings and drawings, There's nothing that can stop. You. Just go ahead and have fun. Now I'm going to contour even stones like some black color, but I'm going to keep more water on my brush that will keep the color being more brown. And I'm going to use this palette to pick up some of this green and some of these blue color. And go over and just counter even the stones. The green color has now dried. And I'm going to counter the stones here. And I hope that you have had a lot of fun. And basically, if you learn to draw and paint a SeaWorld, you can paint and draw anything else. That's why I've made this lecture to be so simple. Just to see work that he can open the door for you to paint and draw anything that you want. It is exactly the same principles. No difference. So I'm even going to extend this line here and just draw out a little bit to create more volume around the stone like that. And now I have two more stones to counter before we can call ourselves done with this painting. Or counter, or those that are closer to me so they can manage to dry while I'll counter stuff behind one bit at a time. And you see now the point of leaving the upper part of the stones rather white. You'll see what kind of volume we get with that. You can see the fruits of our efforts and our thinking process, why we do some certain things. Always ask yourself when you paint. Why I do that? It is the questions that are teaching you what to do. Really talk to yourself while you're painting your drawing to know why you do stuff. That's why I'm talking to you all the time and I'm not just showing things to you, how how to paint or how to counter, but trying to, to get your attention into the questions that you need to constantly ask yourself to be able to understand why you do things. Because later on, when you paint, even though you don't have my lecture and from the view all the time, you will know why you do these things and what is the purpose and what kind of effects you get. Because you to come to this, do the ending of this lecture and this results, you will have to prepare. Strong nag me did prepare like why we did this darker areas to have the volume and one did we accomplish with that? So it's very, very useful. That's why I'm painting and sometimes I'm just fast forwarding, forwarding the lecture. But most of the times I just want you to, while we, while you paint your own painting, I can talk to you about this stuff. So you can use it later on. When you paint and draw on your own. I'm going to give some texture on the stones with some dots to complete the painting. And here below the crab, because the crab has a contact with the stone, I'm going to give some shading. So it feels like this graft is standing here. So I'm going to have a darker area underneath the crab with some color. Black, rather slightly grayish, with more water, less color. And just have it as another layer here. To have the crab merge in its environment. It's not swimming one the other fishes. So we are done with our painting. Now before you detach it from the tape, just wait until it's dry and it will be smooth, so it will not be wrinkly like that. That's the whole purpose of taping it. Then you either can remove the tape carefully or you can cut it like that with a knife and have it on your wall as an illustration, as a reminder of your forest painting, SeaWorld. And I'm glad that you're here for The second part of this lecture. And I hope you feel more confident now or during your own cartoony characters by just painting cartoony dishes. I hope to see you around review and like or on discourse, comments and the common field. And I hope to see you around. Now, have a nice break and see you next time. Bye from me.