Character Design: Transform A Friend Into An Animated Princess with Tom Bancroft

1. Introduction: I am Tom Bancroft. And welcome back, Teoh. Another lesson with me. I'm gonna talk about character design again. This one is gonna be a really special one. I get that a second. My background is I'm a Disney animator, And I worked at Disney for many years and I'm a character designer and author on I worked in films like The Lion King of Latin, Pocahontas, Milan on Brother Bear and Tarzan. I have some of my books that I put out. Here's one creating characters with personality. Hopefully, that's one that you've seen before. And then my second book Character, Mentor and both of those. These books are character design books on, and they're really popular there, used at art schools everywhere. But today we're gonna be talking about designing a princess character. Now, as we know, there's a lot of very famous, uh, animated films with princesses, and I'm sure you have one that's a favorite of yours. I remember when I first started at Disney, they were making The Little Mermaid. I was just an intern, hadn't been fully hired, but it was like a nine week internship in the California studio. And yes, I'm that old it was. Little Mermaid was being made at the time, so this was about 1989. It was so exciting to be there during the making of it. I went to the early early screenings of it when it was all just pencil test and rough animation. I saw Glenn Kean, great animator that designed Ariel and did most of her animation. I saw him actually animating Ariel. I would see him shooting the pencil tests and it's just fun memories and then going and listening to music and getting like, little audio tapes and, you know, going to my girlfriend at the time and saying he you gotta listen to this, you know? I snuck it out and and we were listening to part of your world, uh, one of our dates. That was an exciting time. And so I still have very fond memories of I guess Princess characters in general because of that. But I know all of you do, too. You have friends that say, Oh, you're just like Pocahontas. You're just like whatever. So this isn't an official sanction Disney thing by any means s O, but we're just gonna talk about General you know, designing a princess character. And basically it's just attractive female characters that are, you know, an animated version. So we're going to talk about some cartooning lessons. We're gonna talk about drawing lessons. Uh, it's this isn't a super easy lesson. I'll be honest. This is something that would be more intermediate. But what I'm gonna try and do is make it for everybody. I think that any level you're at, hopefully you're going to get something out of this lesson and even the beginning level people, I'm introduced some new ways to draw human anatomy in a simplified way that I think is gonna be something that's gonna make this more accessible to everybody. So let's let's not dawdle and let's get into it. We're gonna have an assignment at the end to so keep that in mind. As we go through these lessons, I'm working towards something. I want you to be able to do a drawing of yourself or a friend or a family member, probably female that that you can share online, or you can actually make a hand drawn drawing and give to them as a gift. I really think that's what's gonna make this even more fun is that you make it personal. So we're gonna make a eso. I'm gonna talk about general drawing of female animated characters to begin with, and then we'll kind of get more more specific on designing a princess character and designing the dress and the hair and all the little elements, facial structure, and even talk about different races and ages and things like that. So we're gonna get into some more, uh, minute kind of elements to design and drawing, but we're going to start with the basics, so let's get started. 2. The "Odd 8" Body Shape: All right, let's get into this. Okay, This is again, like I said, a kind of a harder subject. Drawn an attractive female and male character. Anytime you drawn attractive character, it's hard, you know, being a dog, a guy, a girl, even a grandma, You know, because there's something about drawing somebody pretty that will always make it hard, because uglies easy. Let's face it, we can do that in our sleep. But making anything attractive, even a flower drawing a flower is always heart. So there are elements in there that I'm gonna introduce to you that hopefully will make things more attractive that, you know, I get that point across to you now and then there's anatomy. So, you know, without having years, you know, it takes years to really know human anatomy on note. Well, but I'm gonna try and boil stuff down so that you could just be working a simple shapes. And to me, that's the key. Simple shapes. So I've even developed a new way to draw the female form. And I called the odd eight, and I'm not sure you that in a second. But the odd eight is a very simplified torso shape. That to me is gonna be the anchor point all your poses and how you you design this character. So in this phase, Roscoe, and talk about proportions and what makes a cartoon proportion more unique and more appealing than, say, really humanistic, realistic one. So if later on when you're doing your assignment and you're looking at photos of people, it's gonna be hopefully I'm gonna show you this way of drawing, changing that, looking at a picture and then converting it to this kind of a cartoon version of that picture. So which is always hard? It's hard to kind of go. Okay, I'm looking at a really attractive woman in a picture, and I have to try and boil that down. It's a simple shapes and things like that, but that's really the key to this is to make it not look like a real person but animated character. So let's get into that, and we're gonna talk about some drawing basics of female proportions. Okay. All right. This is the part where I'm to talk about this new concept I've developed called the Odd eight and the odd eight. I call it that because you've heard of the figure Eight, right? If this is a figure eight, the figure it tends to be equal on both sides. My odd eight eyes longer and then wider at the bottom. So I kind of sketched out here. This is sort of what I'm calling the odd eight shape. And what this is gonna end up being is your torso. So I was want you to realize that even were cartooning and simplifying that even though we're doing very simplified shapes, it all routes back. Teoh actual anami. So this is gonna be your rib cage, and that's oval this way. And then an oval this way for your pelvis. Okay, but yeah, if we were going to get into really realistic drawing, we would define those ribs a little bit more and stuff, but I want to keep things flowing and simplified. So now on top of that, we're gonna add a line up here, and that will be basically just to indicate the where the shoulders gonna go. That's sort of like the clavicle and a couples, uh, very simple circles here. Where will be the shoulders? And I tend to just keep nice, Simple curved lines. I never do a straight. You know, people want to draw arms with straits, but we do have actual flow to our arms. So I kind of do a curve out, and then it occurred in for the forearms. And what I like to do within my pelvis area here is just kind of indicate, like, a bathing suit area, and that just helps me to kind of go. Okay, hips are gonna be right around here. Um, and from there we're gonna add on the tube shapes that will be the legs on a lot of people . And actually, I did the same thing. I used Teoh make the legs kind of start up here on, and they really don't because you gotta have room for this stomach area to bend. And if I have the legs basically starting here, then I'm gonna If I lifted this leg and my drawing, it would b bend way up here, and, um and really, that's gonna get in the way of the stomach and stuff. You really want to have the connection point be lower, So it's down here. It's a little detail, but it does affect your posing later on. I tend to do a kind of a straight leg here and a straight, you know, curb straight here and then occurred into that here, you know, a little adult for where the need is gonna be and curve here and then just basically triangle shapes for your feet, not too big. His females tend to have smaller feet like myself. Then I'll do like an oval shape for where the hands are gonna go. Generally your hands are gonna your fingertips or getting in mid thigh here. So these are cartoon cartoon proportions that I'll talk about that in a second. But it's skinny neck and then a big hit you again. This is your animated character. So big hit that And we're gonna We're gonna get more delve or into the face of structure in the next lesson, so I'm not gonna get a lot into that. But I will talk about, you know, having the eyes be lower set on the head. But this is all about the body that these air my general proportions for an animated character and and again, this is gonna end up being and I can add sort of two shapes to this that taper to the wrist . Okay. And then the, you know, right around here is where we're gonna have the breast shape. Just two circles for now, that bathing suit area. Um, so this is gonna be your general animated character. Now we can play with those shapes and we can make hit bit, hips bigger. We could make longer legs. A lot of princesses will have really long legs. This tends to be I'm kind of designing a character. It's probably a little bit younger. I would say that with these proportions, especially in the face, you can usually say this is a teenager and adult might be one and be a little bit taller and not as cartoony in the face, like, you know, maybe a little bit smaller eyes in longer legs, things like that. They will help local character, local over. But let's go back to talking about these proportions. So this is generally what I want you to use as proportions and ways of drawing. So now that I have this, like I said back to the odd eight he gives me because it's a little bigger here, give me nice hip shape. Give me a little bit more straighter, Torso. So that now when I draw her into different poses just using I could start with my on eight . Look, now I'm bending it. Right. So imagine that's the crosshairs going through here. It's going through here. My neck. Oh, connect here on my head here. You know, shoulder here are flying out. But I want you to draw this this loose, you know, because you can, you know, breast come out here and then yeah, let's just remember, I'm gonna connect that That makes a little bit lower, I suppose. But But now you could see how, using that that eight shape I can really quickly get poses. Let's talk a little more like a princess post. Um, you know, in general, you know, you see this a lot of comics where the bottom is kind of stuck out chest is out. That gives us a nice flow through here, right? And then we can then throw the legs. Maybe even in here. I've even added a tilt to the pelvis so I can have this leg go more straight this way. This one straight down. It's been thrown out And now let's talk a little bit more about tilts. Okay, Um let me go to another piece of paper. Tilson twists. The other thing that you want to do for sure in whenever you're drawing the female form is I mean, in general, none of us stand straight up now. We just don't stand completely straight. Even even if we are standing kind of straight, we tend to be shifting our weight so our hips will have slight tilt. So let's talk about opposing angles, opposing angles. If you're going to draw a character sort of standing here, and I'm gonna do the eight right, here's my body but noticed that I already have kind of a tilt. Put that line through there and what that's gonna give me is then I can throw this leg straight down seeing here's my my bikini shape. This is gonna make it more interesting. I can. This hip is now higher than this one. This angle on the shoulders is tilted. So I get a compression here in a stretch here. So I automatically have a nice stretch more of a stretch here and compression here, which makes for more interest. It makes it so this hip is higher. So that means this this leg is going to be straight. This leg is gonna be, You know, the weight is on this one. So this one could now have been to it or something. And in that way, also, we can get a really nice interesting things. It's this shoulders lower than this shoulder. See, we can have have her hand a purse purse here because again, she's not this one she's putting weight on. So we have that one. The honor, hips and again. Now, Now, because we have this this nice flow through here, she's not gonna have her head straight up and down. So she's gonna automatically the neck is not gonna be at an angle. And so when we dropped her head, we're gonna have a little tilt to it. So it's already gonna be tilted. We'll have her looking over. So I have the cross here is going that way when a drop in the eyes nice and big because it's a cartoon character. But all of that in very simple fight form, she might have a little bit longer legs too short. Um, now, let's do that again. Let's figure out even more ways to show that the IAT eight if you're doing a comic book character, even like and she just cut punched writes an ounce of its Miss Marvel or something. We're gonna add a torso twist now. So let's do the odd eight bigger down here longer, straighter on the on the rib cage here. But now I'm kind of adding that line going through the middle. I'm having a go away from us and toward us. So if this was the some Sudairi here now, her breast would be overlap. So now that one's way over here for everyone, I think dimensionally adding an automatic torso twist. Maybe this leg is coming at us. This is getting great. This is a little more advanced drawing here, obviously, with perspective. Um, so remember she just got hit, so her arm is gonna be flailing here. But again, I'm still just doing simple shapes, all right? Her head's in the back way back here, drawing upside down at this point since it's getting a little hard hits throwing back and again, more perspective here. So this is going away from us. This this leg this need is coming at us again. All still simple shapes, isn't it? So it's a little bit weird, and we imagine the other shoulders, like, over here, right? If we look through her tour, so we have to kind of figure out where that other shoulder is, and then I'll know where to put in this other arm. So that's her, Like seeing going away from us for a draw and I could add a superhero costume on her. And don't we have a your boots, bracelets, long hair flying. Remember, she got pushed back. So are here is gonna be flying behind her. Okay, All that again now looking out. But remember, we started with this the the out eight shape, but twisted it. So now we have a nice twist to that, because remember that odd eight shape Let's do it. And also, let's do a side view of it. This again is our audit. But it's make that nice and white and heavy down here longer here, and this is again. Remember aside, So it's maybe a little straighter here around her here. Me breasts are up here because the rib cage in general, if you're standing up straight. It's gonna lean back right And and this is more to create more of an interest in here, the booty sticking out. But you generally want want your attractive characters sticker booty out a little bit on, and that gives you a nice flow for the body. And as we learned in Preston Blair's animation book, this is a Curb and this is more straight. Then we reverse it more curved here and more straight here for the the cab's comedy The same on the arms. We have workers here more straight here, uh, elbow more curved here, more straight here in that back because right through here, into the neck again, Just the ball I speak ball shape for the head. Yeah, kind of a chin here. Very simplified anatomy. Okay, but again, there's that that lead that odd eight lazy now, Audie. Okay, again a. And you could just draw it as an ob long circle sphere and then another. I've long going this way and or you could just think it by just simplifying it too, that that eat, shape the on a check. But once I have that hip, see just automatically rounding this curve here, an effect that through that off that direction and kind of this off this direction, I'm automatically getting at torso twist. And so when I do that, I know I need to then add a straight lay here, probably the higher one, because that hit obviously has the weight on it going down. And then I could throw this one out this way because that's the one that's not doesn't have as much weight. Um, and usually I wanted then throw the head this direction because right shoulders up this high, that's automatically just to keep the character from falling over. If I put the head over here, it's gonna look like she's gonna fall over. So if I throw the head this way, I'm keeping you know, the center of gravity a little bit more that way, and it and it opposes posing, going this direction here, posing and posing again, and that's always gonna give you more visual interest to your characters. Oh, no, I'll make your more insecure. She's holding her arm here shy, you know, irritable way, I guess. Okay, so that was sort of spur of the moment, but there it is. again. There's that and you get accent that we can add some more hip in there. But in general, you want this to be a little straighter than this to have the curve. OK, so that's some tilts and twists of the female form really needs that tilts and twists just And the reason why is it just gives you even more flow as much flows. You get in your drawings, the better the and you could see even how I'm drawing the arms and things like that. I don't I never do if a drawn arm straight, straight, You know, hand goes here. Um, I usually always draw with a little bit of a flow in mind because that's always gonna give me a more interesting shape. And it's it's more based on on actual anatomy. To our arms are, uh, waste torsos. How we all fit together. We have that natural flow to us, so we're not just straits were not just tubes. Any time you can break away from that and give that flow, he's gonna make your drawings even better. So, yeah, just remember our proportions that we're doing and we're gonna get more into the head next . But we also want to start talking about interesting poses. We're gonna do Anything is intense. Is this Obviously, But our poses air gonna be more. Here's our a little more serene. So my here's a eight. Like we might even have just our legs together. But I still have some till to the to the shoulders, even though this is a very more serene kind of oppose trying to get. And again, if this was a princess, we have a nice big dress there, but we're gonna still consider where those legs are. This one is overlapping. I'm making that extra long, right? So this is where we're going. She has long sleep, you know, formal. But I want you to think I'm doing this very dark. You should have a light touch. Hopefully because, you know I'm doing this dark so you can see it again. We're gonna get into this face in just a second. But I didn't want to do stream drawings without doing one that's a little bit more subtle. This might be the kind of pose that we end up with when we do our princess, but definitely more so than this. All right, so let's get into that next and start talking about the face 3. Female Facial Structure: Oh, and we're back. All right, this is all about the face. Okay? When? When I was animating at Disney, they always used to say that the sweet spot that everybody looks at in a film in a character that's on screen is right here. It's gonna be in the eyes, mostly. So that's it. It's a really key thing. Even if your character is not in a close up, it's a full body shot. You're still gonna look at that face first, and it's just the way we're trained, you know, because we communicate with our faces. So you look at people's mouths, you look at their eyes, even if they're at a distance, that's what you're locking into. So we really got in L. A face. It's gotta look attractive are cute at least. And, um so we're gonna talk about spatial structure, and as you saw in that last lesson, I'd really didn't get into the face. I was just talking about the body and proportions and posing and how to simplify the body. Now we're gonna talk about simplifying the face and really getting the nitty gritty being able hopefully turn the face a little bit so that you know. So it still looks at the same character from the front view to the side view. And again, it's all about shapes. You know, boiling things down to a very simple shapes is really the key. And I can't get that in your head enough. So we're going to talk more about that. Well, also, even talk about a little bit about simplified getting into different races. So somebody you guys air, you know, if you're Asian or Indian or other kind of nationalities African American, you're gonna want toe, hopefully do your drawing of your friends that are different races, So I don't want toe not talk about that. So we're gonna talk about that also, and it's always difficult. The hardest thing to do is to draw the two things is to draw characters ages to make him look OK. Well, that character looks 14 now with a couple adjustments. Now it looks 16. It's really hard to do that, but, uh, the other thing is racist. So you know, now it looks more Japanese than Chinese or more Korean than trying, you know, to get that just that fine tuning on some of it's in the by either. Beholder. I mean, to be honest, there's a lot of elements that go into making somebody look just right in that race. So we will just talk about the basics and because that's the best we can do without getting into color and skin colors and all that, which is down the road when you color it, Um, we're going to do it, at least in the drawing phase. So let's talk about that and get into it. All right? Now, welcome to, uh, this tough one the face. So I called the attractive animated hold on female face on, and that's important to say animated because, uh, this isn't realistic drawing of female faces. So let's start, though with that, let's start with proportions of the face or head. Um, that is more realistic. So if this was a straight on of a female face, eyes are gonna be, you know, semi almond shaped eyes. You know, noses about that long. And then, however, now all right, it's a model. So she's got a strong bone structure, right? The widest part, a lot of times is those cheekbones out here tapers in, uh, for twist the eyebrows, and then we have the hair on top. That right? Stuart straight here. Okay, so that is general proportions, right? Everything's kind of bland. Kind of in the middle with the eyes. Neck would be, you know, about that thing. Okay, Now, let's talk about the animated version on, and there's all different kinds of, you know, I'm just gonna talk about the one we'll get into different versions, but All right, let me try and match it up. So I still start with the circle, right for the head. I'm gonna go a little bit smaller on the chin area here. And then instead of putting in the middle here again, this is still straight down. Uh, I'm gonna add the cross, their lower. And why do you that is That automatically gives me more room and still have lots of forehead to have bigger eyes. Big guys are really the key to making an animated female attractive character. Now I'm doing the kind around. We're gonna talk about different eye shapes and things like that. So this is sort of the generic version right now? Uh, kind of a smaller nose. They almost tend. Always to tend to have really kind of small noses. And then, um, you know, a little bit bigger lips, you know, expressive mouths. I tend to make a smaller upper lip and a bigger bottom lip, and it gives it more variety. If you make him the same, that just looks kind of plane. Uh, now, I got plenty of room for eyebrows, and I can still years here. Go about at the bottom of the nose and somewhere to the middle of the eyes. We have huge eyes so it can't go to the top. Otherwise, we have really long years. Um, and see, it's here. Big hair, right? Is starting to look familiar, so I better stop right there. Okay. So that Ellen in a nice skinny neck, kind of a thin, not too small if it gets really pencil thin, it looks really weird. So I just like to have a nice then next. Just because this even though this is kind of more realistic to the human buy, it starts on an animated head like this. If you put that neck on there, she looked like a kind of like a weightlifter. A little bit too much this makes it looks just a little bit more dainty, so that's going to our general proportions. And now let's start playing with with that, but also variations of that. So, um next. Now that I know that that's my proportions, I'm gonna start drawing it from a side view and the reason we do basic shapes. This is the core of why teach shape based character design is because we can now turn it from any angle and as soon as you know where things are locked in on, I don't use a ruler by any means, but I know where the I sit. I know where the nose sits in the distance between the nose and the eyes and that where the lips said, I know that this is a ball shaped and I know this is sort of a scooped kind of U shape or even a V shape, depending on the character. Um, now I can read. I replicate that from different angles, and everybody always ask me that. Like, how do I make my characters look the same from angled angle? And this is how is really being able to boil down your characters Teoh. Simple shapes. So again, I had that same. This is a side view. Now I have that same circle shape. I'm gonna go more oval with it from the side because our heads air like that. If we looked straight down at our heads, This is kind of what they look like. Here's the eyes and there's the nose. Um, it's not a circle. It is more of a know we have this. Our brains got to sit in there. And so we have this the cranium back here, and a lot of people leave that out. Just do the same circle for the side view, and you don't want that you want a more with back here. So again, and then I'm gonna stick on here The u shaped for the the chin and the and in the years well, we know go right about here. And I'm just really quickly and lightly cut. Throwing it on the nose is right about here. Real Oh, um, eyes, you know, right about here from from a side view, we're going to get kind of ah, oval shape to that. I of course, But don't you see now, a nice sort of s curve that's now appearing here and now we put in lips that smaller shape on the top rounder, Fuller shape on the bottom chin. You know, cheekbones were being here, which we don't draw in. That usually looks kind of like too much and then saying with so with the cranium kind of scoops right into the neck. But the neck connects just past the year. So because in your ear could be a little bit closer, I might have a little further, but you wanna have a little bit of it hanging out over your neck. You don't wanna have the neck go straight out there. So where the neck goes is really important to, um, As you can see, my neck isn't straight in the middle. It's it's a little bit to the back, and that's again. Another thing, uh, that human proportions have is that we don't A lot of people will draw their side views and have their neck right in the middle. Here's right in the middle. I mean, it's just not that way or will do the opposite where they'll have it connect right off the back. Get this chin hanging way out. So yeah, knowing where to put it Israel key to. But that's Ah. So if you drew it through, it really is connecting into that skull again. This is even know we're doing animated characters. It's all based on human anatomy. I mean, I could draw the skull shape in there and the John how that works and and it would. It would all work. There's your socket of skeleton anyway. It looks creepy, but so let's talk a little bit more about the head. So now, now that we have an idea again, this is the younger sort of teenager kind of proportions. Starting look, familiars and she. But let's talk about different variations on that. So when I was drawing another certain character, that's a princess from a movie. She had shoes more mature but also very athletic, so she had more of a diamond head shape. I'll do a 3/4 view, so we still got the cranium coming out the back, the high cheekbones and strong structure to her head, uh, kind of ah, longer straighter knows. And she had sort of an Asian influence. Her eyes were at a tilt, and she actually had a bigger top lip than her bottom lip. I know you might be able to know who I'm talking about, but I ain't saying I don't know if we'll do the hair, because that's that's where I'll start getting in trouble. But in a very kind of, she had a more realistic, uh, neck to very athletic. Well, what the heck? Oh, that's my You really start coming to life when you have guys, so we don't know who that is, but, um, but again, it's based on very similar things. Although we have This was a character that was a lot more realistic, so she needed to have proportions that were a little bit closer to realism. But it's it is kind of somewhere in between, but again, still basic shape so that we knew how Teoh. Oh, so we knew how Teoh, you know, replicate her face. Now let's talk about I see now that I know I have a face I can draw from different angles, I'm gonna do the same thing I was doing with the torso. Um, and I can now do like crazy angles on her because I know where everything goes and I drawn in very simple shapes. Um, if I do like an upshot, I'm gonna make the bottom of the eyes a little flatter. But it's still again, the same basic shape of still doing that. But now I'm tilting it back because it where I put the crosshairs and I still know where to put those eyes that knows the mouth. And I now have even changed the expression a little bit. I'm stretching her jaw open a little bit because their mouths open. Okay, Okay. Now let's talk about varying those shapes, so still start. Actually, I'm gonna do a couple heads here, so I'll start with the same circle shape again. This is going to eat more straight on. Um, but now let's play with it. To where again? It's more of a diamond shape. And now this one will make, um, Let's see more of it. More of a U shape on the bottom. Okay, but maybe stretch. So it's the longer, longer face. And then I can play with where I put the eyes. I may. I may go a little higher on this one and a little bit lower on this one. I may make the nose really tiny on this one, and I may make the news, you know, a little broader on this one. Let's do different eye shapes on. We're gonna get into this in just a second with different races. But how you draw your eye shapes matter to like, If I'm I'm adding a little bit of an angle to the eyes, and I'm making it more flat on the bottom and rounder on the top. So that isn't by accident. Don't don't make random lines. Think through your lines in your shapes. So I did that on purpose so that I could have a different eye shape, right? Um, it will do smaller bottom or a smaller top live fuller bottom lip. I almost never draw straight on. I just don't think personally, it's not as fun. I think you can still make an attractive drawing that way, but it just doesn't look very lifelike. It doesn't have much, uh, emotion and, um, performance, and we just rarely look straight at somebody. We always have a little tilt to her head or we have a little just a slight angle. And to me, a 3/4 angles are much more interesting, but I'm doing this for demonstrations, purposes. So this is starting to get and because I made the broader nose and again, we're gonna get into this in a second starting. Look, maybe a little bit more ethnic, maybe a little more African American, and then here will dio makers kind of smiling off to the side and see how I'm just doing very loose sketching, Uh uh, and I'll give her more almond shaped eyes. So it's a little rounded at the bottom, a little more curved on the top. But that's not straight on the bottom and these little bit bigger eyes to so kind of kaddish eyes, he added. A little light at the top for indicate an upper lid. Um, I was at eyelashes. They're just more of a graphic shape. I don't like to define. You know, the animated eyelashes tend to be If this is an, I tend to be a graphic shape. So it's just thicker with maybe one or two little breaks here on the end. Um, big, big pupils. Okay, um because if you do, it's just again more simplification. But if this is a re ally, you know, and you have, like all these, right? You have sit down here another wrong with that drawing all that. But it just it's not really the animated style, the enemy. And still, you just want to kind of keep it nice and simple and graphic, because again, it goes back to to the animation where you want you have to repeat the drawings over and over again. So we're not gonna add every single eyelash we simplify it. So to get that look, uh, you definitely want to do a kind of a graphic. I last shape. So there we have on I can soften this, add a little bit more curb could soften the chin a little bit. She just got, she asked Fuller cheeks. And that's the big difference on her face. It was nice, foolish, fuller cheeks. Here you can even add little temples, I guess. But as you can see, I'm using a lot of the same shapes, right the same circle and then but changing the chin and changing the proportions of where I put the eyes, how big the eyes are and they look like completely different characters. Um, and that's really the key, and I mean, you're a slightly thicker. She has a little more realistic in those huge Ives here. So I'll go a little thicker on her neck and go a little thinner on hers, and it really seems to fit them. It suits them a little bit better. So finding that, um, what is just right for your character is gonna be a little bit of searching, you know, is I may be making it look definite. You might be well, trying this race. It go a little bit thinner, you know, do that searching and trial and error and redraw the care. Don't just feel like you dropped once and you're done. Put another piece of paper over and draw it again and refine it more. Um, let's talk about lips a little bit. So we talked about eyes, and we'll get into more of that in just a second. Uh, lips. I'd like to keep him nice and simple. This is a 3/4 of a lip. Um, and like I said, I like to do the top a little thinner and the bottom a little thicker. You know, as we know, there's a little divot there and in a close up you might draw that and there's a little different here, and you could make that as bigger little as's you want. I tended in a rare cartoony style. I believe that out altogether. But this is generally what your lips, you know, female lip looks like slightly more realistic. Um, now you can go is cartoony as just like I said, doing a curve shape for the top lip and a curve for the bottom. And that's your your cartoon, your lips. You can do, you know, like a certain princess. I know this sort of high peaked top lip and a smaller bottom lip that can look like a very lush kind of full lips. Um, but the key is, you know what you do with, um you know how you pose thes lips and how the expression you give. If we're looking straight on like we did here, we kind of look how it tilted that mouth and made it so the grandes bigger on this side and smaller on that side. Basically, it's a side smile, and a lot of people smile like that. Very few people smile, you know, just straight on, you know, like we always want to draw. So adding a little tilt to that smile automatically in making one side a little bit longer automatically gives a little bit more interest to that smile. Uh, let's talk about well, now. Let's get into different shapes. I shapes and things like that. And this is where we start talking about different races, too. I you know, I'm Caucasian, so I draw lock occasion. And my girls are all Caucasian, of course. So, but I like to be. I have an interest in drawing all kinds of different races, and being able to do that is eyes a great thing. If you're a character designer, if you can pull that off and get different looks and expressions, but also different races, it's always gonna be a win win. When I do that, I always do reference. So this is a reference that I put together just for this talk, and it's got Asian people. I think I put in Japanese and got these two, whether or not they really are. I don't know that's the Internet. I think these were supposed to be Chinese, and you may say they're in there and I don't know, but Chinese, African American and all different looks Indian. Uh, so I wanted to get a variety, too, So that, you know, there are so many different kinds of noses, even within the same race. There's so many different kinds of eyes, even within the same race. Because you can see between these three girls that are obviously, uh, very trendy buddies, you know, very thin eyes thio more flat on the top, around on the bottom. This feels a little more American Chinese. So we're such a blend of races here in the US especially. That's hard to say that any one person is just one thing. We're a melting pot, So let's start with the 3/4 head shape. Nice animated Sam, adding the cranium to the back. I'm so let's say let's start with an African American face. There's certain elements that I'm gonna want to be more careful of. And high cheekbones is one of them. Super high cheekbones tends to be there, so I'm gonna add that to my design. Um, and maybe thistles. Brandy actually think, but kind of a big are longer chin, so I'm just making symptoms ago, so I hope this works a broader nose to Okay, so let's add the broader nose. And I like the sort of slightly almond eyes here, and this is gonna take some experimentation for sure to get whatever race you're drawing out to, I guess. Thin your eyebrows do you Thin or thick, I think, with plucking. That's not a race thing, anyway. Is that Of course I'm not is black and white so soon as I do Skin tones color, you know, color the skin That helps to. But hopefully you can see the race even before you color it. You know you never want to do a race and you can't tell that race until you called it a skin that that's not usually a successful character design. You may or may not think this is successful. Um, but I think there's a glimmer of where I'm trying to head with this. Um, yeah, yeah. Is it? Strays currently will give some kind of waving here. This is very simple fied. I think a fairly big forehead, I think, helps to Obviously, I would have to define that hair a little bit more right now. This is sort of a very simplified cartoon just for this example. So okay, there's one of a 1,000,000 different ways draw in Anna at African American character, but notice there's a 1,000,000 different noses. There's a 1,000,000 different, you know I shape. So, like, say, with an Asian I we may want to be real careful about, uh, doing, like, kind of an almond shaped, But again, I do it more flat on the top. This is again more about 3/4 Um, this is it going away from us. So, uh, around her on top, but not really around. I mean, I'm just doing a very shallow kind of a curve with the thicker eyelash on top and and hopefully that will give me a little bit more of an Asian looking eyes. I'm just a little, maybe a little bit of a feeling of a top lead. Um, And likewise, like like timmy Indian eyes. You know, there there might be, at least in some not all, but, uh, a slight bit of it. You know, it s curve ish. Kind of a feel to the top lid into the bottom. You might do that where it's got a little bit of ah point. This is looking more straight at it, and that gives and there's sort of a lazy eye in some cases, so are, you know, like heavier eyelids on the top top lead. So I'm gonna do that accent that a little bit, and that might help me get an eye that looks a little bit more Indian. Thank you. Very thick eyelashes, too. I think that always helps that might Fillmore Indian. Same with noses. Let's talk about noses. Like I said, with some people might have a more broad nose. In which case, we, uh, maybe it's small nostrils, you know? But there's spaced further apart. Um, maybe, uh again, just like with the eyes. And is it a straight is that a curb on top is a straight on the bottom? Is it con con que visit convex? We do the same with noses. We want to be real careful about the bridge of the nose. So maybe an Indian knows might be a little bit more of an S curve, so that curves and and then curves down, has a little bit of a dip, and then kind of smaller nostrils and that might look a lot more Indian. Um, because I think you see that the little dip on the bottom a lot of times and again, it tends to be a little bit larger. Knows this might look to mannish, but you can play with the shape here and get just the right nose. Um, and then, uh oh. And then, like a little tiny nose, you know, maybe in Asian knows, I think tends to be kind of nice and small and round, you know, very soft, round kind of a nose. So those are all things you want to think about? I'm just doing very subtle changes on again with the female form and female bodies and faces. We don't want to have a lot of details. Don't add a lot of like, you know, from looking at a face here, I may grab the grim lines and add those, but I don't want to add every little wrinkle into her eye that I see here because there's something strange about making an animated or cartoon character and real life here. She does not look old at all, even though she has a couple little grin lines and stuff around her eyes and mouth. Soon you add those same lines to your character. They look older. So if if it all you're unsure, leave it off. Keep it a nice simple face as few lines as possible. You know, every once and while you might add a little a little line. Just Teoh get a feeling of, ah, of us, you know, some kind of ah, you know, slight bulge or dimension to And I, um But that's on. And then, of course, hair hair makes all the difference in the world. You're gonna have straight hair, you're gonna have wavy hair. And some of that has to do with race to and will help you get to where you want to go and get that that extra angle on the lips. Asian Americans tend to have very, very small lips, like how big that mouth is. They're not gonna have Ah, very big mouth. You have many very small, kind of pert kind of lips. Um, and that's another thing. So all those little things look for see those differences and that's the key to tryingto lock into finding different our races. All right, so thanks, guys. 4. Hair and Clothing Design: Okay, now we're gonna talk about It's something that's probably harder for me that maybe it is for you. And that's designing the hair and the costume or the dress in this case, because that's what princesses air known for. Its really a key element. And there's jewelry to I probably won't get into jewelry because that I know even less about because, let's face it, I have a guy, and this is not an easy subject for me. Eso I'm always doing photo reference, finding photo reference for dresses and hairstyles, jewelry, all that kind of stuff, especially for female characters. But male and other characters, too. Because, you know, I'm just not up to date, to be honest, like I lock myself into this studio here and I get kind of just stuck on. I don't exactly go shopping a lot, so but I am a dad. I have four girls of my own, and so that's why I guess doing this lesson is kind of fun for me, because I've seen a lot of Disney princesses through the years. I worked on a couple, and I've also I'm seeing a lot of dolls laying on the ground dresses and, you know, And then, of course, they're always coming in saying, How do I look? And I'm not much help, but we will talk about that. And the key here again is simplification, because it's an animated character we're not gonna put. And I'm talking more about by my backgrounds, the traditional animation days where it was hand drawn like in Little Mermaid Pocahontas. Now in CG animation, they could put a whole lot more detail into the costuming. In the hair, you can see every strand of hair, but for a character design, you really don't want to do that anyway. So you may choose to do that, and you can go crazy over putting into all kinds of patterns and, uh, uh, lace detail if you want. But my character designs were to be a fair, pretty simplified in the costuming and in the hair, because I think that's that's the key you can always build onto by adding more. But in my case, I really think that you want to make it as simple as possible so you can repeat that drawing over and over again. So let's get into that and hold your breath Here we go. All right. Well, welcome to hair and clothing. Like I said before, this is not an easy thing for me. But I try and be conscious of it on study hair and clothing because that's gonna make things look more natural in my female character drawings. So But what? What? It's key to me is not only looking at my own girls and my wife and the people around me, but and magazines, of course, but also going online finding reference. So photo reference is a really big thing that I'm I'm gonna push for those of us that aren't fashion designers. So I went on and I looked just for what I would think we're on. Obviously, you could pull up Disney princesses and things like that. I can't show that here for copyright reasons. So what I pulled up are more real, more real dresses on, and actually, it's a good place to start. I think you can look at the Disney Princesses or other princesses from animated movies and look at how they simplify the dresses. And I think that's important because they'll have elements of some of these bigger, like wedding dresses down here about the big, poofy bottom parts and the course, It kind of areas in the middle. These are more prom dresses, and I have those for reference because they're they're still classy. They look like prom dresses. I think what we're gonna end up with is a combination of all these these air very simplified dresses here, but still elegant and classy. And it's for me to know the shapes that I wanna kind of look at for the bodice area, you know, yet still kind of proofing out. This is an actual princess, so it's never bad to have that reference. Here's some Tierras different styles, that air kind of living more simple because your princess gotta have a crown, right? So anyway, that's we're gonna hit that in a second. I also will pull up some of this. I might look at hair styles to I like to see what a more formal hairstyle looks like with things in. Generally, your character is gonna have their hair pulled back into some kind of a bond. Or that's very traditional for a princess. Elegant kind of a look. So let's talk about that. A lot of I haven't talked about this either. I'm drawing with this graphite pencil usually, and this is a drawing. They don't make these anymore. So ignore this. I love it, but you're not gonna be able to find it. Uh, but I tend to start with colored pencil, and I haven't been on these instructional things because you can't see this color very well , but I will probably start with it here just to get my proportions a little bit. Um, I'm gonna draw a generic female semi princess character, and then we'll dress her and then I'll get into some some instruction on detail. Uh, so there's my my They Yeah, drawn her too big. So I'm gonna run out of room for him. Thanks, but we'll just keep her in a very generic pose. But I need something to hang my hair and clothes on. So this is my very basic model. Very plain. Okay. We have linebacker shoulders. I try and keep the shoulders kind of narrow. It's not opposed. You'd want a duplicate. It's very plain and straight up and down. But I just thought it would help again. She's just my hangar. She's not an actual character design Okay, This is our hangar character design. And now let's start dressing her again. Because I'm just doing simple shapes again. That odd eight. And, um, just so I know where to put everything, Uh, the arms. Here's my head. Um, I'm going to now try and figure out hair and dress. So looking at my reference, I'm gonna try and come up with something that is a little bit of a combination of all these things, or at least the best of toe. Make it feel like a being grand dress. Now, I'm not a fashion designer. So what, I may come up with your gonna go? Oh, that looks really ugly. So just take the theory behind what I'm saying and apply it with your good sense. So But obviously, uh, you know, I think we want to start with I tend to, like, you know, this is really nice, but it doesn't. It feels a little too proper having that big V neck, and everything's covered up. These tend to be kind of interesting with whatever you call that. Top that scoop top. So I'm gonna start their, um and have sort of Ah, just a very simple M shape here to her. What will end up being kind of a bodice like don't even know the words. But I think a bodice kind of a shape right to the to that part of the dress that's gonna be kind of form fitting through here. And that's what I like about a lot of these, especially the wedding dresses, is it's always very form fitting in this area. Um, and then it run around here. If that's sort of Ah, I guess kind of like a core set kind of a thing. Then it really puffs out. So if I'm just talking general shapes, um, this bell shape, like a ring a bell like the princess belt, um is kind of a key shape, you know? Look, now creating this sort of triangle shape here, if you want to get really generic, um, with our shapes, but that's gonna be a real key, shaped how it blossoms out. And that blossom could be more straight like we have here more of a triangle. Um, I like the roundish shape that we have here of, like a wine glass upside down. And then maybe maybe we have from this point kind of reminiscent of what's going on here. A nice, uh, overlap of, uh, material coming off here until I'm not dressmaker. Um, but that might add sort of nice, like wrinkles and stuff that we can get through here. Very simplified, but say that's maybe you in a different color. You know, start thinking about color here, too. Um, maybe we even add, like, a little flower shape here, but maybe there's little flower kind of things coming down here again. Very simplified. I'm not doing these very detail, obviously, but they can be very simplified flower shapes graphic. But I'm trying to think of design throughout this. Just like I designed the character. I'm trying to design this dress, um, with, uh, the show off my character design, but also, of course, make her look attractive. But also, what elements are going to make it kind of look interesting? Maybe there is some some lines that go through here, but these air, what they define is is sort of pleats or something from the material. So knowing how to actually, uh, So this kind of address would be even more helpful, which I don't, but I'm just trying to think of designed to and heaven to, you know, everything is flowing in here pointing up to her after her face. Basically, I'm gonna keep the shoulders bare because that looks great. Um, no. And then we may, you know, Let's just ad we'll have this arm behind your dress. Maybe at the here. She has Ah, let's give her I like this sleeves on here. Let's give her the sleeves. Those end just below the elbow. So these are all conscious decisions I'm looking at where things and where they start. But I like that. It looks very Grace Kelly. Her might have been longer, but But that gloves are long Gloves always looked like Grace Kelly to me. All right. Started. Looked like a princess right now. Hair, Um well, just indicate eyes really quickly here. Just finding those again. No, we've already talked about these elements, so I'm not gonna go over that again. But this is again kind of a generic animated cared princess character. Okay, so now for hair again, I think a lot of them have the hair pulled up and cause it looks more formal. I mean, obviously, you could do more of the Barbie long hair. I am gonna keep with that. But I'm I love the element that this one has, which is some bangs. And it's a little swoop in the front. Probably can hardly see that, but I'm gonna repeat it here. It's parted on the side. So if this is the middle of the part in the middle of the hair, here's the chance. Draw on the top of the forehead. Um, I'm gonna grab it from the side, and you have sort of s curves. So I get that nice look sway of the hair here, and it's kind of a bigger mass. So it's gonna go up here now, notice what I'm doing here, and then the hairs gets pulled back here. I want you to know, OK, so let me draw that real quick here, Uh, see, And that might overlap the year Just a tad. Okay, now what? I want you to notice years I'm thinking about the flow of the hair, and this is all based on real hair. How you would do real hair. Um, this hair is pulled forward and it's a piece of it, right? This hair behind that would be pulled back. And so we're gonna have a few simple lines. It's gonna show that that flow back. But I'm trying to make very simple shapes out of it. See how I'm simplifying and style izing the hair as I go Because if I drew in every strand and really drew that, you know, it's gonna get really muddy really quick and again, it won't look like a traditional animated character anymore. It's gonna be too realistic. So to go along with our nice, caricatured bodies and faces that we've already designed, we want to make sure that we're simplifying the princess dress and hair to go along with that. So if this is pulled back, and that means that there's gonna be some kind of a tie or bun back here, and, um, I'm just gonna put it high up because I've kind of pulled the hair back high up. I can't pull the hair back. Hi. How all these lines shoot back here and then put the bun back here on the bottom. It won't make any sense. Then I would have to pull the hair down this way. So since I've already done that. I know this may not be a nice looking hair design for a real person, but I know that I need to know. Put that bone up here kind of higher. I'm gonna design kind of a shape. Maybe it curves around. Okay, so I've done a very simple hair shape that, you know, if you're a woman, you're looking at this. You go. I would never wear my hair that way. Maybe that's true. It probably is. But I would say that at least it's successful and it's a very simple fired shape. Hopefully, we have a princess look going on here that is simplified and could actually pass for, like, a princess character. Now, obviously you'd meet. You may want to add some jewelry here, I think, and I'll just do simple shapes again. It's so droopy kind of oval shape here, which we may or may not see a little bit of over here and then, you know, some kind of a necklace. And again, I'm not even get out, get into the detail. You You guys probably know jewelry necklaces way better than I, especially if you're female. But again, I want to do simple shapes. And so even when I'm doing a necklace, I'm thinking like a thin gold one here, maybe, and it's got, like, a smaller clasp. And then it's some kind of a dangly here that's a little bit bigger, and it's still it's all designed, right? I'm still thinking shapes. I'm still thinking design. Um, now, let's go a little bit more detail into hair. I'm gonna talk about how to style hair. So again, here's and them to draw a little bit bigger. Here's a 3/4 face, and if you look at any animated female character you'll see, especially in the two D animation days. But also in three D, there's still a a shape philosophy. There's still some kind of a feel of basic shapes, so part of that is because you want to have be able to do it in a very simple way, but also be able to define that character. Aerial Pocahontas. They all have very jasmine. Jasmine has a huge hair. It's all stylized in in cartoon, but it's while it's still based on real hair. It's unique to that character, so let's let's talk about you need care in this case, if I was gonna have a point again. Not right. Dead center in the middle. But just off to this To the left side. I may have the hair, Um, the hair, Uh, parte sorry. And I'm gonna have it go up and then droop down, right? And it's gonna cover up this year over here, and that's going to give me a thickness here. That is just a nice, stylized kind of thing in that money. Then widen out here and get into some curves. Kind of maybe fair faucet hair a little bit. And that eminence see through that part, bring it down straight down here and keep this part nice and simple. Maybe that part is kind of straight down the back and occurs under note. Note that I'm trying to find very simple shapes, and we see underneath it here, sheet that in, and then maybe on this side, it does the same, but but in a smaller way, it's part her neck, of course, to be here. And we had that part. You know, this front part is gonna overlap, you know, be in front of that's the other thing you wanna be conscious of is some hair in front, over the chest, some in the back. Where is that dividing? Lying like this to me. If I was going to draw her shoulders in would be, you know, like here. So this part is all going behind her back. This flipped up curved curl here is in front, so it's in front of. If she's got a dress on, it would be in front of that. Those are all things. And, of course, there's some lines back here that's gonna be you can change it in to show that, but that's gonna be the back of her hair as it goes around, right? We're seeing we're seeing This stuff is in the front with curves. Very simple shapes. You're gonna break here. This is kind of old style. Maybe it looks a little seventies. I'm not sure, Um, but that you want to think about how simplified this shapes are, and, um, and that maybe you have a nice, bigger shape back here that that's nice and simple. Well, here's some more ornate shapes. So it's all about designing your hair, hopefully based on whichever photo reference you're looking at, but it's still gonna be based on what really hair can do. But you're simplifying it greatly. Okay? I just want to try this drawing, okay? 5. Putting It All Together: and we're back. Okay, Now this is the big one. This is where I call putting it all together Now that we've learned the basics of simplified female anatomy proportions that go along with design your princess character, the face and that anatomy that goes with that in a simplified form The hair, the clothing we've pretty much hit all the things. Now we have to start putting it together and actually designing a princess. So what I'm to do for this one is I took photos of from Facebook in places of one of my daughters. And I'm gonna use that as my guy because basically, I wanted Teoh a sort of gift designed character of her as a princess. So I will show you some reference for that that I have and then also start showing some photo reference that I have of dresses. And basically, I'm just going to start putting it all together into one drawing. I'm gonna find oppose first in the basic shapes, just like we talked about before and and hopefully a little bit expression. Now, the one thing that I also want to do to is at make this a unique princess so asses a cheerleader. So I want to add elements of being a cheerleader like maybe she's a cheerleader princess. She's the princess Cheerleader land. I don't know what it sounds weird, but I thought it'd be fun to kind of make it a unique thing and and make the dress in her school colors and things like that. So some of this have already done first so that it's a little abbreviated. Otherwise, you you watching me draw for days or whenever you get all this together, any color, but you'll see as I go through the steps. This is the same steps you're going to use for your assignment. So kind of thinking close attention on how we put it all together to make that that princess character. Okay, so now what we're gonna do is actually put it all together. That's this section I'm calling, putting it all together. We've learned about how did designer characters and a simplified way simplified anatomy, simplified character knee faces. Um, so we're gonna create an animated princess character. Now, basically, this is gonna be the assignment that you're going to give you in just a second, but I'm gonna do it for you first. My own version. So, uh, let's get going. What? What? I'm gonna do this usually as usual. Um, it's lots of reference, so I want to have reference available. I've already shown you my reference for dresses and some for hairstyles. And now, like a set amount of designed My daughter. So this is my daughter, one of my daughters, and these are all pretty much like Facebook pictures. Uh, and she's a cheerleader. And, of course, great at doing selfies and things like that. So I don't have great reference, but I grabbed these mostly because, you know, one is kind of a dress. Your dress. Here's two different sure uniforms. I'm not just picking these because of the face or whatever. There's not like an exact face, like there are that posed that I'm looking for here. Gonna make that part of it up, But, um, but I didn't want some reference for hairstyles and outfits, mostly, and in general, her face. So I'll have that handy as I do this. Let's see, I want to keep it big, so I'm gonna have to cover up some of it. Um, And again, this is just gonna be isn't gonna be a caricature of her. It's gonna be a simple version, stylized cartoon version of her. So first of all I want to do is, um, on a block in a really simple pose. Um, and, uh, that I want to do, so let's see. Um um, good making this up as I go. But I think what we'll do is well, because she's a cheerleader. I'm gonna do this in blue just for may. I'm gonna do kind of Ah, rather than, like, a very demure princess. Kind of opposed. I'm gonna do more of an excited one. Um, we can hope that with some energy, because I wanted to look great like a cheerleader. Kind of excited cheerleader. Oppose, Even though she's gonna be wearing a elegant dress. Um, see, So I have a tilt on the head. Do you? My You're eight. My odd eight. I'm doing this on this antique because it's a little easier for me to show this to you. Um, then then if I did it traditionally, normally, I would do traditionally I actually like drawing Traditionally. Um, probably little bit more. I will happier with the results as you can see, my line Here's super scribbling and rough, but it'll do the job, I think get me in This will be a poem. Poem. He knows I have tilts built in here. My figure a my control address yet. - Okay . Uh, so I think that's gonna be my basic pose. I'm pretty happy with that. I guess I'm gonna may even say like, her hair over here in this top middle one. Uh, her hair backs looks princess E c. So I'm trying to see you can't see it very well whenever what? It would look like whose angle, but we'll add an idea. And again, just a shape. Mourn anything, Uh, what that hair might look like. What will? Hair hanging down. I promise. This will look prettier, Nancy. She and my daughter has kind of a curved face. You shape on the body on the bottom of the chin and stuff. See here. Oh, and I did say what I'm gonna do is I'm gonna seem this so that her dress is in the colors and we'll show you the color part of it later. Um, the colors out of her, her Children uniforms. So this maroon and white color on. And I figured that out yet, but I even have ah, the f on there for her school. Um, anytime through that, we're having a work that in, uh, but I will somehow someone, uh, see several. Yeah, I me etc. Rough in start of the dress. It's kind of high waisted, but what a princess dress. Let's see, Let's go big. All right. I mean, even use for shop what it's good at and your legs a little bit longer that all go now, make my dress longer, too, which is always a good thing. Uh, just adding some white background go. Uh, So let's see. And I'm already seeing I don't like how this arm isn't Aziz and a higher ankle, so I'm gonna change the angle of that a little bit. Make it a little higher. Here we go. All right, So now I think I have oppose that. I'm pretty happy with general proportions, but I'm pretty happy with. And again, I'm doing this pretty quick. You know what I'm gonna do? I'm a big bow back here to which will go with cheer, anything. That'll be fun. So now Let's start working on at a little bit more detail. Um and, uh, maybe maybe that's what it she'll have a necklace shop, a necklace that has a big I work in the school, right bracelet or something. I see. This will be there. Hold times. Okay, so just working out a few little details and then let's see again. I'm trying to do this fast. You guys wouldn't have to do this this fast. Um, okay, so let's go to another level and do some refinement. So what I'm gonna do is I'm gonna knock that one back. My capacity. Try and do this. Um, we're gonna come back. I'm gonna come back in just one second, and we'll have a little bit more refined drawing. It's gonna take a little while, but I'll step you through it. Okay, so we'll call that police for now. Okay. Um, what a little necklace here. This is not at all the way. I would like to do this. I can't get I'm not getting the line and walk, But what I'll do is probably clean this up a little bit before a color it again. It's supposed to be a sketch I'm still trying to keep the flow. And for this will still be something that show keep. Hopefully, as I'm refining this, adding the details, um, I'm trying to think dimensionally to kind of wrap shapes around other shapes. Um, and I'm trying to think to use a detail that I can adhere. Can I add the that f here? We're in the necklace. So I see Curci Any poem, poem? Because that would take forever. No, si, that was to try and draw what's gonna overlap something. I'm trying to consider that as I draw, but she has I'm putting down more final lines. I'm trying. Consider what overlaps what do they do that thing first? So good. Quick cut. Think it says, race that on there. The indicate details to the dress here. And let's see, um, again looking at, uh, some of the wedding dresses and things like that. I'm God somewhere in between prom dress and wedding dress. I know, uh, but I did like, let's see, let's have that separate. And that separate. Now, obviously, we're not gonna see those legs, so I'm going right over that. Oops. Let me just see, like, little tips of the feet cause this long dress, so we'll probably just show a little bit. Slippers, dress shoes. Um, let's see. Yeah, that would be a really quick version. Uh, the she later princess. And what I can do now is clean that up a little bit and then throw some color on that. And obviously, I would knock out the under drawing, have a little bit of a tighter drawing. Uh, let me fix that up a little bit. But this is my rough sketch again. A tighter rough sketches should say, and then I can refine it more and add color, and that's what's gonna happen next. So hold on one second, as I do that and here we go. Let's wrap this up. Okay. Um, now that I have this sketch, what I did is I cheated a little bit, and I printed it out, and I did a finer drawing on. I ain't it by hand on. Most of that has to do with me. Haven't be able to quickly I could get faster that way and get a little bit better results than doing here, Photoshopped. But I can show you that by showing you Let's see. This is what I made it into. So I took that rough sketch. I refined it. I have a little bit more detail ing here and there because I had some new ideas. I wanted to get this sort of wavy shape here. Um, and I started thinking about two about really defining some of these, uh, how the color is gonna look really liked the stripes right here on the sleeve ing in the middle of bottom cheerleader outfit. And so I'm starting to think that's the way I want to color this thes stripes in the middle are gonna be those same stripes, that white burgundy. So I jumped ahead again, and I've already colored this. So let's see what that the final looks like. Well, uh, on get a background color, have a nice green, be good, and then you hear it, ISS. So this is my daughter hurt as a cheer princess. As you could see, I worked in the burgundy colors here of her chair outfit and the strike being I added a little bit of bling with some golds and pearls and added the sleeps two in ik phase. Uh, yeah. Thank city. I think that's something that she's gonna like and hopefully be nicely surprised by. Uh, you may not take it this far, but if you dio I hope you do. And definitely post it really excited to see what you come up with and shared on Facebook and Instagram and really surprise somebody with a drawing with Princess of them. So thank you. 6. Your Assignment: Now it's up to you. Uh, this is the assignment face, so I really want you to try this out and post it. So this assignment, that's what it is you're going to create your own princess. Hopefully you have a girlfriend or a wife or a mom, even a You know, uh, somebody a sister or that somebody that you want to maybe to you. You wanna design one of you, but make one of those people that you know into a princess now that don't get into caricature. As you could see with when I did my daughter, I try not to do like a caricature. Really. I was still boiling down to sort of like, I guess you could say, the Barbie version her, which is just simplifying her into a cartoon character and having elements that look like her but not slept like it's got look exactly like So don't worry about that as much, because again, we're not teaching care caricature, Of course, where you gotta nail it to look exactly like that person. But hopefully there's gonna be elements in there that have their personality, either. It's an expression. It's definitely the way their hair's done. You know, of course, the coloring, if you color it and maybe even in the dress and props mean throwing a prop, something they like to play baseball. Maybe it's a British with a baseball bat over shoulder. You know you want to throw in stuff like that is gonna really make it look and feel even more like that. Unique, that person on that And they'll love that. They'll just enjoy that even more so if you put it up, tag me and look to see it. And, uh oh, and then the B version, that is, if you don't want to go that route and do somebody that, you know, draw somebody, uh, then maybe you have your own character, a female character of your own, and you want to design the princess version of that character from your comic strip from your comic book that you're working on Or, you know, just something like that. Or maybe it's a theme like you, Spider Man. And so you wanted Teoh, Mary Jane Princess, you know, take an existing character. It's all for fun. It's sort of like fan art, and but sure it let people see it. You know, I think that's what this is all about. Definitely put up your rough sketches and your final pieces. I'm hoping you take it all the way to color. Obviously, we didn't go into how to color things. And as I've said before, you can draw traditionally. Or you can draw on this antique on the computer digitally. I've done a little bit of both today, and it's only because it was easier to show certain things those ways. But it's not about half technique. It's all about just you getting what you want out of it. You know, if you're just doing in the sketchbook, we're doing it all the way to a final peace. And for shop, it's up to you. Have fun, enjoy it.