Transcripts
1. Intro : Class Overview: Hey, everyone, sorry for the late off date. Things have been happening, so I haven't had much time to work on the class. But now I'm back and I want us well, so let's do this In this class, I'll talk about how to create from imagination. Sketch characters for TV animation is a part three out of three Siris for beginning to intermediate level, and it requires the use of food of shots and a drawing tablet. In the previous class, we talked about shapes, language and how it influences the first impressions and personality of a character. He also went through the process off, roughing in our character and talking about the design choices for that character and this class. We're going to take it easy. We're going to wind down from all the hard work week did in the second craft and bring up hurt or to completion. We're going to talk about brush presets and setting and the different styles that can be achieved with line week and different lines files. Then they're going to go over our character sketch with clean liner, making sure not to lose the energy and personality of our characters in the process. So what are you waiting for? Go and mold button and let's get started. I'm roughing out our character.
2. Brush Presets: Let's talk about fresh presets and setting on photo shop. You can find the settings by heading the fight arrow on the flash tab. From there, you can correct the window down and see all the range of fresh is that you have. There is really no fixed set of fresh in that you have to use for your work. It really all depends on your style caters to. You can install brushes into photo show by clicking on the fitting button on the brush presets. I'm going down and clicking on little brushes. From there, you can just navigate tune of brush sets with a B R extension and then just click clothe brush that should done up here on your brush group. There are, however, some factions that have to be loaded through the tool section to do that, navigate to the downwards arrow, the side of fresh click on it, and it's pretty much the same thing as importing Amy are brush that so you scroll down to the low tool presets and import the tool preset offer away. If you want to modify a fresh, you can also do that. But clicking on the icons of size of fresh types on the brush preset window will pop up. From there, you can select an adjusted their front properties off the fresh, play around with it and discovered what each property does. You might find something you like. I personally like my fresh is with set off a greeny effect, so I will turn on scattering and noise. It's pretty much a matter of tweaking and playing around with each setting until you find something you like. There's really no set rule toe. I'm just clicking each option and seeing what does. And if I like what I see, I good thing about this is that you get to create your own customizable fresh that's personalized for you and cater to your style. But if you're too lazy, there are lots of fresh that's available online of flow, so you should be able to find something that's journeys. When you're happy with your brush, you can click on the create new brush icon to save the prefect. You flash in your fresh holder, an optional pol Pot in which you can rename this fresh, but you can also rename the fresh later for right clicking on it. and the fresh, colder selecting meaning. I'm going to name this fresh flight hard round six. So it's 80 so I don't buy it if I ever need to use it, and that is pretty much it for fresh precepts and tools. Now that's well onto talking about lying weight and different styles of liner.
3. Line Styles and Weight: like we can mean many different things. If not, lines can be used to create different styles, which in turns to the meat of each show. Some lines are really solid, while others are very sketchy and there are also others richer in between. So it really depends on what you want or in the case of TV shows with Class one, each line style determines the workflow of the production. For example, those lines are gaps as lines. It's for more physical coloring because you have to go in and fill in the gaps manually for use in your people. However, the results that really pays up in a sort of hand drugs personalized settings. That's not to say follow lines are bad. They are my favorite. Childhood cartoons were drawn in that file, actually, like make for easier coloring, and they're also generally you to animate food and away. There's the clean professional look, another point which I wish to bring up for discussion with the line. Not every piece of artwork has the same weights, and I'm sure many of you will have noticed shows you sick, like others used in our life. Very often it will be and mixed up, he noticed. In these two examples, line weight on the outside of the character that is the outlines. Have you on the line wait inside the characters you can see and most prominently in your eyes, the experience of mine. Wait its interest in design of the character and also prevents to design from getting too heavy from having a uniforms heavy line weight throughout. Can you imagine the characters how thick, heavy lines for their eyes follow their body? Who paid a whole different by present? They're also shells still, for the uniform line works against them. As long as the lies are soon enough and don't snatched the limelight away from the characters, you can work very well. Letter Shows Stronger Offer Other than the types of talked about, there are many other variances to align. One extras I would like to do from time to time. That doesn't require much effort. If you go back to my favorite TV show our film, and just watch it, allies it figure out what it is exactly about that show that makes the attached to it. You have to be the file. It can be the story style loss are just characters. You can actually learn a lot from the exercise. You find out you read and write Dyer observations by the class, and you can talk about it. So the next time you watch a shelf keeping eye out for the line, weight and variant in the characters and back, you can learn a lot how to push away attention. A goalless draw, an attention from just a simple stroke of the pen.
4. Lining our Character: Now that we're familiar with different lifestyles, the show can have Let's begin lining your character. So I'm just going to create a newly you here on top of the mine left layer. Next, I'm going to adjust my brush to see how it fits with the style I wish to have. I'm going with the round brush for the style, So I'm gonna go to my brush list and pick on the heart round brush. You double click it too. So like it in and close the window, or you can select it and click away to close the box. I'm gonna try out two different styles. I'll draw the first style for you, so I'll label the style one and I'm going to turn off this button here. And what it does is it uses the pressure from her stylist to just the size of the brush. So thank you. Um, it she'd someone of paper it line, depending on when and where you assert strength in your wrist with it off the line becomes more uniform like set for the spell will, even because I want my line beef in in some areas and we're waited in some other areas. Next will live on two of its tool, which essentially those same thing is the last tool. But this time it affects the opacity of the line instead of the thickness on it. So even turned on, you can see that the pressure I extort determines help hold the line will be but off the effect this less pronounced next, we'll just the flow of online. Um, we just kind of like how quickly you wanna fill your brush. Ah, full 100% means the ankle has no obstructions whatsoever, and a very low percentage means more. So it's basically kind of like frictions to go somewhere between 70 to 90% inflow. So I can bit of friction when im drying, so it feels more natural to me. But this is really a personal preference. Less option is the opacity off the fresh, Um, and this determines the overall average capacity. You wish your pashto have been drying. You can do additional changes with their brush presets settings box, like we did in the previous video. So I won't go into that for that here. So now, when lining your character, if you have CIA six or higher. There's this nifty tool called the rotator, which functions as a way to turn your canvas anyway. Wish so it makes for easier lining. One can go to the icon above. The magnifying glass in the tool window or press are is a shortcut. So let's go. Really. When I line, I find that I like better when I'm in a calm and collected state, they say, And ours emotions can greatly affect their brushstrokes, and I find it true for me. So when lightning my character, I like to have my one hand to draw with and the other hand on the keyboard so I can press control sie to undo because L. Preston a lot when the line is not to my liking or press on any more shortcuts to aid my drawing efficiency the most. Pressing the square brackets to adjust the size of my brush and going over certain areas again. Just add a bit more weight to those areas so you can see here. I'm just rotating and lining and switching between tools with my hot keys. Um, and that's pretty much the basic movements Teoh buying or just try and Photoshopped essentially um, I'm making sure that I have a line that is varied in thickness because that's the style that I am going for. I like to have a thicker line for the upper island, as opposed to the people. Some songs, so it looks like they're sweet to the I. A lot of these are just artistic prices as to what I think looks good based on what I've seen and what I liked about keeping in mind, gravity and how it weighs things down. So that means things that are sagging and a design would have a thicker line on the bottom and supposed top. I'm also doing a cigarette outline, a stylistic choice. Um, because I think I looks good for this character, and I'm thinking about what kind of shows I can see this character being in. Usually. If you design a character while in the industry, the clients would determine the style for you, but in this case will just go with what we like. So I'm just imagining how he would look in the world that I'm thinking for him and how he will move and how he'll interact with objects in that world and stuff like that you can see in filming in and out a lot. See how my character looks at the whole, that it's whether or not the lines are working together and this like that. It's just focusing on lining. - You can see here when I'm doing the details for my characters outfit. I am using a center line supports of the thicker outlined so it doesn't get too busy for the eyes. And you can see that the design choices we made in the previous videos help a lot because it's easier tow line a character if you're more focused, that means you're not really this too much distracted by anything else. So the previous design choices we made and recorded down here help us so that we don't have to stop drawing and go to search Indian and figure out how things work. So this is the purpose off that withdrawing down there. Of course, I'm doing a little bit more research, so us, too make sure that I have to design perfectly nailed down. But it really helps me that I have a rough drawing here as a guide. - So now we have our character here and I I'll turn off the roughly er apple it. You can see how the roughly really influences the lines and changes I've made finding later . So the rough layer doesn't have to be your final. Finally, you can still make design choices when you actually find the character. The rough layer is just there as more of a guide. So you're not pulling from thin air and you're focused on actually lacking the character. So I'm just gonna let me name this layer style once, and then I will turn off the roughly and we got So you re trying out yourself. Pay two or three types of styles to line your character and feel free to post your results in the class discussions, and you can talk about it.
5. Thank You: Hey, everyone, thank you all so much again for enrolling in this lesson. Congratulations on making it this far. Give yourself a pat on the back. Today we talked about the different brush presets and settings and photo shop. It's almost the importance and variety a line can bring to a character. He has also tried at two different line types for a character to see which works best for them. Few free to post what you have in the Project gallery, I would love to see what you come up with. Creativity knows no bounds. And, as always, feel free to leave a comment below on what lesson you would like to see next or what you think I can add to or subtract from my classes to make them more suitable for you. This officially brings us to the end of the three part series on how to create a character for TV. If there any other essence you won't like me to make, please feel comment below and Massey, thank you so much once again for enrollee in sticking with me on this journey, I hope to see you again in the next video by
Stephanie Chewy, Animator // Character Design
