Transcripts
1. Introduction: Hello everyone. My name is exterior
and welcome to the sixth and last part
of the Photoshop drawing. Serious, if you haven't seen the previous classes
of this course, please check them out first
because the knowledge we've gained there would be needed
in this part as well. In this class, we're gonna be exploring character drawing. During the class, we'll discuss the basics of character drawing, such as working with
reference pictures, alerting about the
basic human figure, each proportions and types. We'll find out how
to make the poses more lively as
well as we'll have an introduction to the
concept art through the glass will have a few practical
exercises and we'll also learn some tricks at the end of the class in order to apply
the received knowledge will complete the final
full-fledged work for the final work
for this class, we're going to be creating
an illustration into this. Assignments will need
to use and reinforce all the knowledge we gained from the previous classes of
this drawing course. However, mainly
we'll be focusing on concept arts for this class and for the whole
course in general, ideally, you should have Adobe Photoshop and any
kind of graphic tablets. But the knowledge you'll get
you'll be able to apply in any other graphic software or
even traditional materials. So if you're ready, let's begin.
2. The Basics of Character Drawing: Character draw it. That's probably why we all are here and why we needed to go for all the previous
stages and learn the basics for the
character drawing. We will need reference pictures
for these concrete part, we will be using
the FOX pictures that can be found
on the Internet. It's always good to use reference pictures
because to be honest, you don't know how most
of the things look. You have an idea and maybe a very simplified
image or icon in your heads. However, you won't be able to transfer it in detail
onto your canvas. So reference is there for you to gain information about
the proportions, values, edges, and colors. First of all, we need to understand how to
build a character. For the first exercise, we will be getting familiar with working with reference pictures. We need to understand
that each complex shape, each complex character is
made from the simpler shapes, the shapes that we
already know how to draw. For example, with these folks, we are not supposed to
copy the silhouette of the Cree track
coping silhouettes won't give you
that much freedom. We need to analyze the
complex shape and split it into small pieces which we
already know how to draw. In that way it won't
be challenging for you to build a character
from a different angle. And it won't be that hard to add the right lights and shadows. You already know from the
previous parts of the course how to do such things
with simple shapes. And there is no such
a big difference between drawing a cube or any other simple figure
and drawing a character. So how are we going to
analyze the pictures? First, we need to
understand how to divide the parts
into smaller pieces. We're starting by creating
an ellipse for the head. And we need to glue this
cylinder slash code slash weird rectangle for
the most parts to the skull, but the shape is not
sitting on the surface. It's kind of cards inside
the ellipse shape. Also there are cones for the ears and spheres
for the eyes. Take a closer look
at the references, and she will see
that all of them, despite different angles, have similar shapes which units
to recreate on your drawing. Also, we always need
to keep in mind that our creatures are not
flat or 2D or 3D. So we need to consider
the perspective first, as well as we need to consider
the lights and shadows in the later stages of developing the character is for
the perspective, look at the distinctive
features such as ears, eyes, jaws. With characters. It works the same way
it worked with a shelf that we were drawing in the
fifth part of the course, you need to respect the rules
and build your character with simpler shapes following
a chosen perspective, the one you see on
your references or the one you
imagined yourself. It's always good to
have not one reference, but a bunch of pictures
from different angles. You'll be able to analyze and track how the
shapes communicate with each other and how they perspective works
in various cases. And that will help you to
create a better character. When we discover
the perspective and demolished our main form
into smaller pieces, we can try to
experiment and create a very simplified
illustration of the fox. We're gonna be using the
reference pictures but not relying on them blindly
as we determined before, we need to start by
creating an ellipse. Let's go and grab some
brush and a neutral color. I'm using the
triangle brush from the first classes of the course, try to make as round
shape as you can. And if it's not very
accurate, That's okay. It's only a sketch and
the warm-up exercise. However, if it's
not very rounded, you can go to edit, transform and its
use, for example, the warp method to achieve
a better result with your ellipse when
you're satisfied with your lives for the
shape of the heads, we will go and recreate
this symmetry lines. Our folks is pretty symmetrical. It has a pair of ears
and a pair of eyes. And in general that
suicides of the body as similar to one another
on the references, the line of symmetry
is this red, which is present
in all pictures. But before adding
the symmetry lines, let us define the direction
of the folks face. Let's say that the folks will be looking in that direction. So we're going to
create the nose or the snout elements looking
in this direction. When we determined
that it will be easier for us to create
this symmetry lines. Let's go across the shape
and create two curves, one vertical and one horizontal. We are making the curves and straight lines because we
are working with the sphere. When you have this
signature lines, Let's add the cone or the
cylinder for the nose, figure out the direction first and create the whole shape of a cylinder units to carve it inside the shape of the head. Work more on the shape and erase the lines that shoot
zone needs if you want. When we have this shape, Let's create the ears checkout
the reference pictures, define the shapes, simplify them and put
them on the head. Pay attention to
that symmetry line. And remember that the
ears are carved inside the shape and not
glued to the edge. When the base is done, Let's move it a bit down, create a copy and put it as SAT, grab the brush and start
cleaning up the shapes, play with them and add
the first details. Go back and forth to
your references and try to analyze how you
can simplify everything. Try to find what works
best in your case. Let's add the ice. At this stage, the eye that
is near to us will be a bit bigger and the
opposite one will be smaller than the
perspective in action. If we take a look at this
picture, for example, we can see that the
part of the eye is hidden behind the
nose and we need to recreate it as well because the angle is quite
similar and it's also, we need to pay attention
to the perspective. Start working on the shapes by defining them
in a better way. When you are done
with this part, create one more copy, move it to the side and start
rendering it even more. Onto this stage, we will go and create the
shape for the neck. Start erasing their
parts right here inside and around the snout, start working on the whole shape in general and the
mouth elements, for example, in that way, we are not striving to achieve a very photorealistic picture. It is an exercise and we are in needs to understand
the shapes. This is our main goal. Move on and create one more
copy of this illustration, put it aside and try to
render it even more. At this stage, Let's
erase the lines of an ellipse and
add more details. For example, start working on these distinctive folks
cheeks and the coloration. Here we will map out
the dividing line of two colors and the
irises to the ice. With that feature, you can
convey a bit of personality. Maybe these folks is a bit Foxy and it is
looking slightly up. You can start fixing
the shapes even more, work on the silhouette and rely on the references
when it's needed. If you want to exaggerate
and stylize your sketch, draw the cheek on the right, add some details and erase
them needless parts. Remember that we are
working in a perspective, focus on it and if
it's needed, fix it. I will grant the red color and checkout by using
the axillary lines. If everything is okay, fixed, everything that you can. For example, I will work
on the ear and the mouth. When it's done, Let's
move on to the coloring. I will make ONE
this illustration smaller and put them aside. Also, I will create one
more copy or the fox, we are not making the
final illustration. We are creating some
kind of its thumbnail. And what we can do here
is sample some colors to find what will look best if we were to
finish the picture. If you want to adjust
your sketch in any way, go to edit transform and to use one of the
methods in the menu, distort perspective, warp,
blade with your illustration. And if everything looks fine, Let's create one more layer, put it under the layer
with the last sketch and start sampling the colors
from the reference pic chars. Or you can pick the colors
by using the color wheel. For example, let's
start with the chest. Pick the color from one of the reference pictures
with the eye dropper tool, you can see that there's
a variety of colors. This is great. This is more beige, this is more white. It is your thumbnail and it is up to you what colors to use. I will go with light grayish, and if it feels off, after trying it out
on the illustration, I'll use the color
wheel to adjust it. Now go along the shapes, big different colors, and
add them to your fox sketch. Let's take a look at the
eyes on the references. They are a little
darker than the fur, so let's pick the dimmer
color and edit here. Use the darker
color for the nose and maybe for the
tips of the ears. Now let's create one more layer and put it above all the layers. You can add the highlights for the ice and maybe a
few more details. Remember, it's only at some
nail so we don't need to fully render it with all the lights and
share those rules. But if you want, you can add some shading
strokes and highlights strokes and a nice statues
to make it known that flat. If you want, you
can make a copy of your final thumbnail and play around with different
color combinations. Makes some of the
copies lighter, some of them brighter. Find what you like the most. Play with saturation and Hughes. Also, if you want
to practice more, draw a few more focuses
from different angles. For example, straight
look at a site. Look, use the same principles as we use for drawing
our first Fox. Start by defining
the simple shapes, angle directions,
and perspective. Work on the shapes and simplify what you see on the
reference pictures. Get rid of all the lines
that you don't need and end the colors with its
arch of shadows and lights. That's it for our
first exercise, we analyze the shapes and created a very
simply done folks. In the next part we will be talking about the human figure.
3. Basic Human Figure, Proportions & Scaling: The human figure is the
hardest thing to draw. We used to look at people
on everyday basis. So the slightest mistake in image will be noticed
about for us, it's necessary to
understand the structure of the human body and its
movement mechanics. Because our task is to convince the viewer
that the character is real and you can hide the lack of knowledge
behind the style, it will negatively affect
your artistic flexibility. Of course, it doesn't mean that all your characters must
have realistic anatomy. But even if your character
has noodle arms and legs, the viewer should be able to imagine the skeleton structure. And this brings us back
to the importance of understanding the basic
simplified anatomy and body movements. If you compare a
dozen of artists, you'll see that there
is no universal method of making the right body. Of course, if we're
not talking about the academic drawing,
painting, and sculpture. But even so there is
no universal method, any approach to
drawing a body will be the same regardless of the distribution of
body mass and relate. So let's take a look at how
we can simplify everything every time you should start your drawing by
defining the posts. And you should work
on the character from larger shapes
to smaller ones, from general to specific, or from macro to micro level. If you start from the
details, for example, the location of the eyes, the whole result might
be unsuccessful, although building the
human-like body seems incredibly difficult due to the great number of
muscles and joints, the whole process might be
broken down into simple steps. In general, the body can be roughly divided into
six main parts. Heads, shoulders, arms,
ribcage, pelvis, and Lex, if you split the figure
into separate parts, it will be easier to
see the big picture. Once you understand how to break down the figure
into smaller parts, you'll be able to draw
the characters with ease and in more attractive
and believable poses. Plus you'll be free to exaggerate the
proportions and play with style when we're talking about the relief anatomy, women, the parts of the skeleton
which determine the surface of the body and serve as a guide to divide the figure
interceptors, for example, the thigh area or collarbone, ankles, and risks. Playing with visibility
of this part gives an additional expressiveness to the character's appearance. They're realistic
human proportions. It can be determined by counting how many heads you can feed into the heights
of the character. For example, the height of the average male figure without significant proportional
distortion equals seven to eight heads than non exaggerated female figure
contains six to 7.5 hats. With these simple rule, you can quickly mark
down the entire shape of the character's body will change the proportions of
your character. For example, some
impressive superheroes could be nine or
more heads high. We will check out all the
above mentioned a bit later on the examples when
you are simplifying the different parts of the
body as individual forms, you'll see the structure better, which will allow you to
stylize the character more or put it in a
more complex poses. Let's take a look
at some examples of Bose's contrapposto
or opposition. It is a term to describe. A human figure is
standing with the most of its weight on one foot. So each shoulders and
arms are tilted in the opposite direction
from the hips and legs. Dynamic figure here we
are again unfold inch, shoulders and hips in
opposite directions. These contrasts helps
with visual appeal. Now let's move on and
checkout the examples. The measurement system
using the heads can be a great starting points when you first start learning
to draw characters. However, be aware that if
you use just this approach, your characters will
look pretty the same. In this part, we'll check out the various shapes and sizes of human characters of both
sexes and different ages, as well as we'll check out the simplification
and heads methods. This is an example of an overweight adult male
character bone relieves that we usually see on the body in this case are not
that noticeable. So we need to work with
simplified, rounded shapes. Instead of using bones as landmarks for building the
anatomy of such a character, we need to take into account
the work of gravity and imagine how the body weight is distributed relative
to the skeleton. This is an example of an underweight adult
female character. Pay attention to the
relief of the thigh bones, shoulders, rapes and nice. That makes the whole figure
look more angular and bony. This is an average
adult male character. The classic masculine look
suggests angular shapes, wider shoulders
and narrower hips. And this is how a figure might
look like on an agent man. And the elderly character
might be skinny or fool, but the distinguishing
feature in all the cases will
be the second skin, especially around the
neck and abdomen. As with age, the skin stretches. Here's the figure of
a curvy adult woman, unlike the overweight
character in that case, we don't have to take into
account the work of gravity. You can see the hints of bone, your relief, but the
hips, shoulders, knees and ankles have rounded shapes due to which the
character looks soft. Here's an example of a boy
of three or four years old. Unlike adults, a child's
height is equal to four hats, so it's head looks large
compared to the body. Child character has
softened features, so it is best to
use rounded shapes. Also, we can see how the simplification works
here, all the characters, despite their width and age, will have the same parts of the body that we
discussed before. Heads, shoulders, arms, rib
cages, pelvises, and flex. The size of the parts
is quite different. But anyway, the structure of this part is similar
to one another. However, now by looking
at the whole picture, we can notice that
something is off. All the characters here
are the same size and they're not inscribed in
the Canvas and composition, they don't relate
to one another. Mostly we can say
it about the kid. He's too big and can be
the size of a grown-up. Adults are looking pretty harmonious than in side-by-side. But if we take a closer look, we'll see that it's
not quite that. Let's count how many heads
each body can saints, we already know that
the kid is foreheads, the curvilinear, The Old Man and the overweight guy are all about six hats and
average guy is 6.5 hats. The slender lady is
almost seven heads. So let's put them
all in line and scale them down in accordance
with their height. And now they're looking good altogether
standing side-by-side. But what if we'd like
to make some of them, let's say nine headstall. Let's see two examples. That's how the overweight
guy will look, as well as the slender lady. However, you can notice a little difference
between them even now, when there are both
nine heads tool, I use this same size of
the head for both of them. And if you take a
look at the layer, you'll see that her hat is a bit bigger and we need to
take this into account. So we need to change the size of the axillary ellipses
and make them equal to the size of her head. Her nine heads will be
larger than he's nine hats. And if we put them side-by-side, she will be taller. We always need to keep in
mind the size of the hats. It would want to make
the kid nine had sold. First, he'd be very terrifying. And the second will need to use this size of his exact hats. When we've taken a look
at MIT types of bodies, let's discuss one technique
that will help you to create better poses instead of starting strangely by drawing the
head than the torso, legs and so on, It's always good to use an action line that sets
as dynamic posture. The line of action is a
curved line that runs a loan. The character spine,
which serves as a guide for creating
and expressive boasts, depending on what you
want to show with your drawing in general and with your characters
specifically, the direction of the
action line may vary. Usually it takes they see or
S shaped direction following the natural line of the spine and the curvature
can vary as well. When you are just
learning these things, you will probably start
doing the action line straight and it's not the
best way of using it. Even the title action line gives you a hint that there
should be some action. If you're drawing
a straight line, the posts will remain motionless and Steve and probably
a bit boring, the span is pretty flexible. That's what you need
to keep in mind. The action line will serve as a basis for
building the pose. That's why you need
to consider starts in your drawing by defining it, the line of action
is easy to follow. It starts from the
characters left or right, food and trans along the spine. Let's take a look at a few very quick and
schematic examples and try to find the de France. This person is scared
or overwhelmed, but we don't quite see it. The span is almost
straight here and the legs don't follow the
general movement of the character's body, hence allocated close
to the ribcage. So as a result, you get an unconvincing
and unclear silhouettes. And so these quick sketch, you see an expressive gesture. The line of action
repeats the bands of the spine and it
continues further, setting the direction
of the entire pose. In this case, the line
of action is dictated by the location of the left
hip and heads angle. Now let's compare
these two poses. In this example, you see a
heroic pose on the left. The chest on the
character is raised, which speaks of
bright and strength, and his legs are spread wide
to show his confidence. On the right is a less
successful version of the heroic pose, which shows the common flows. The spine is stretched
out in a straight line and the shoulders and hips
are parallel to each other. They boost is static
and Visually boring. Ideally aligned parts of the figure create a
sense that something is off and it's not working within nature of the human body. So with that knowledge, let's combine the
simplifying part with the action lines and
create two lovely figures.
4. Action Lines: A Guy: During this exercise, we'll
create two figures from scratch by using the simplified
method and action lines. Now you can see the
first action line which we'll use for
creating the guy character. Let's discuss this
example in more detail. The first thing
that we need to do while creating the
character with the help of the guiding line is to define the basic shapes of the
head, torso, and pelvis. For the heads, we can use
a circle or an ellipse. Let's go over the top and draw a shape not too big
and not too small. When the head is ready, let's move down and make a
trapezius sheet for the torso. Find the convex
part of the curve and draw up tilted
trapezius shape. Don't forget that you can always use an eraser tool
angle back and forth to adjust your elements when the torso is quite ready, Let's create a pelvis
with a rectangle shape. Let's add a bit more
of a dynamic and use a different direction for the pelvis when we
have the basic shapes, Let's work on them a bit more. I'll make the rib cage
and pelvis smaller, readjust their its yield level, work on the shape
of the hats and just balance everything
out in general. Now, based on these
simple shapes, we can create our first
very simplified sketch. Let's start from the head. Firstly, let's find
the center lines, one vertical and one horizontal, continue by defining
the ear and chin areas. Now just a schematic image. So don't worry if it's
not looking very nice. Let's move on and continue
working on the sketch. Follow the line of action and wrote two lines to
define the neck. Try to use the curves instead
of the straight lines. Now, define where the
shoulders are gonna be and draw two circles while
creating your first sketch, try to think and work with
the shapes and not the lines. But if it's easier to define the direction
of the elements, of course you can map
it out with the lights, but remember it's
not a sticky figure. We already know what
shapes we should use to create certain
parts of the body. So use the shapes while
building the figure. I'm keeping in mind what I want to translate
with the posts. In that case, I wanted
to make a very lively, kinda relaxed, but in the same
time very confident pose. If you are struggling
with a simplification and with building the
elements in general, don't hesitate to get back to
the scheme that we explored before to clarify what
shapes you need to draw, also remember that
what you're doing now is not a linear process. If you see that
something is off, get back and fix it, switch from one element to another experiment if you want, I decided to make
a point in finger, again to add some
action and energy. And also put the second
arm on the waist, which will justify these
bands in the spine. Now let's find the center
lines of the sources and then go down by following the
action line and add the legs. And when we have everything, It's time for adjusting. Grab the lasso tool,
select the elements, use the Move tool
and fix the element following your vision and
the general composition, work on the shapes, make them smaller, bigger
rats ate, move them, even redraw some
parts if it's needed to find what works
best for your drawing. At this stage, you just need to take a maximum from your obit, ugly sketch and
fix it as much as possible to create a better
picture in the future. When you are generally satisfied
with your first sketch, Let's make a copy of it, put it aside, and now
we will be cleaning up everything and creating
this simplified scheme. We need this to make sure our first sketch
is not so wrong. We'll go over our first
sketch and define the pars following this scheme
will simplify everything. I'll decrease the
opacity level and create a new layer above it for
a simplified sketch, start making your
simplified scheme. There is a lot to
process and to keep in mind action volume
perspective proportions. So always get back
to the example, analyze, compare, and try to
capture it on your drawing. Don't hesitate to use the lasso and move tools to
fix your elements. If you see that some parts, directions or sizes are off, you are welcomed to fix them. It's one this part is all about, remember that the
same parts for arms or legs on different
sides should be equal. This center line
into the accounts and create the parts
following ads. If you accidentally overlap or weirdly connect to some
elements, for example, like here with a
hand and ribcage, you can exaggerate LFO
and place one element, in that case the
hands differently. Let's take a look at the stomach
area there right side is stretched and that means that the other side will be squeezed. Use the curves and
straight lines. Work on the cuffs, make them convex if you want or leave them as they
are on this scheme. Vary the size of the
food if you want. When you have ever been, you need to take a look at your picture and
checkout whether you need to fix anything and
adjust everything you want. When you're satisfied
with everything. Let's make a copy of
this layer and move on to work in more
in-depth on the character. I'll decrease the opacity
of this layer and create one more layer above
to work on the character. Now we're going to be
creating the character based on this simple
shapes we have here. We'll end the face features, expression, hair, some
clothes and so on. It doesn't need to
be too complicated. It may be very
simple and cartoony. And if you want, you can use some references. So I will go over
the base and we'll create a cool guy
in a jean jacket. You are welcome to create any character you like
with these posts. For now, just define what you're gonna be making and
create a sketch. Don't publish it. When you're done with
your first sketch, Let's make a copy and
clean up the lines. The final stages, take a
look at your character from the distance that will
help you to see the mistakes. If you have some end
fixed that if you want, you can add some
shadows as well. Maybe if it's needed, use the warp tool to
make some adjustments. When we're done with the boy, let's create one
more character by using a different
line of action.
5. Action Lines: A Girl: Now let's draw a girl. We'll use the same principles
we used with the boy. The only difference
is that we won't use different shapes to create
the hat, dorsal and pelvis. On the first stage, here we'll be using
just the circles or ellipses of various sizes. Remember that the first
sketch could be pretty ugly. Here. You're just defining what you're going
to be drawing and figuring out how to put it
all together in a nice way. We are creating stylized
pictures and not aiming to 100%
anatomical correctness. Adjust the shapes,
erase extra parts, and when you're satisfied
with your ellipsis, Let's start building
our character. Starts from the hats, go along the line and
start building a pose. Use the instruments that can help you with
creating the shape. Go to Edit, Transform, Warp, use the lesser
tool and the move tool. When you're satisfied
with your first sketch, Let's make a copy of
it and put it aside, change the opacity level and
create one more layer above. Now our goal is to create a correct and
simplified scheme that later on weekends or an insert a character the same way
we did with the boy. Let's go over the first sketch
and create better shapes. Get back to the scheme
when you need to analyze it and try to
show it on your drawing. Keep in mind the perspective and remember the true
character is 3D. Remember that the same parts on both sides
should be equal to. Remember that if one
set is stretched, the other side will be squeezed. Remember to
prioritize the curves over the straight lines. When you're satisfied with
your second simplified sketch, Let's make a copy and
create a character. Now we're going to be
creating the character based on these simple
shapes we have here. The same way that we
used to do it with the boy and the facial
expression, hair, some clothes, and don't
make it too complicated, if you want, you can
use some references. So I will go over the base and we'll make a girl
in a summer dress. You are welcome to create any character you
like with this books. For now, define
what you're gonna be making and create a sketch. Don't go into detail. When it's done. If you want, you can make one more copy
and polish your sketch, add more details,
glean them the lines, add the shadows at the
ends if you want to. We're done with this exercise. In the next part, we'll
take a look at concept art.
6. Introduction to Concept Art: In all the previous parts, we will mostly talking
about recreating something or drawing
something from references, grading something from real
life nature and so on. In this part, we'll have an
introduction to Concept arts. And the main goal of concept art is not
to draw something, but to invent something
better if it's something new, we don't want the
illustrations to be cliche. We want them to
look some kind of different from other
artists works. But the problem is, there is nothing new
left in the world. All the ideas have been made and shown before most of the time, creating something new means, combining different ideas and
working with the results. You all have heard the expression
a steal like an artist. It doesn't mean you are tracing someone's work and
pretending it's yours. It's actually stealing. Know you are
rewarding the ideas. Imagine you have two
different ideas, the mama idea and the PABA idea. These ideas have
their own features. By combining them, you'll have a baby ideas that will inherit
the parental features, but at the same time
will be pretty unique. For example, you have a vision of your character with big arms. But if you just
add the big arms, there are a million other
characters with big arms. But you saw somewhere a
character with a flame arms or rock arms or melting
arms or any other arms, ensure combining these
two characteristics and getting something different
from the original idea. That's how you are
adding the layers and details to make
something new. That's the variability. However, now we need to
understand what we're against steel and what is
not allowed to be stolen. So the parts of the drawings
are the idea, composition, perspective, angle, shapes and proportions, colors,
patterns, etc.. And what we can still is
only the first item from this list because still an other things will lead
us to copy the image. Now let's find out
where to get the ideas. First. Let's think about
how we can derive the ideas from the pictures
we've already seen. Mostly we can do it by using
the description methods. You saw a picture and
you liked it a lot. Now, not to copy it, you need to take
your notebook and describe what you saw, the idea. And you need to do it
with words without describing the composition,
shapes, colours, etc. It's some kind of
broken telephone game, but it's only you
and your notebook. When you describe the idea, close your notebook and wait
till you forget the picture. You probably don't have
a photographic memory. In a couple of days
or a week or so, you will only have a
glimpse of what you saw. And that's when you can get
back to the idea and draw it.
7. Visual Associations: Another way to find new ideas is through visual associations. With this method, we are
talking about the prompts. Prompts are good when
you are getting out of ideas or want to try
something non generic, you can find a little prompt
list in the resource tab. There just 20 prompts, but the number of different
non-repeating combinations you can make from
them starts from 190. If you use just two
words for one idea, each word will spark an idea
or an image in your heads, and that could help you to
create different concepts. Let Chicka, this visual
association method in practice.
8. Final Drawing: Base Preparations: But first, we need some
preparations into this file. You'll see lots of layers. I'll show you quickly how we're gonna be
working with that. Generally speaking, we are
using the same scheme over girl we were practicing drawing
in the previous exercise, but we added some
additional elements such as MAC and a dragon, and thereby would edit a
story and a composition. Here I invite you to
create a character of your own by using
the theme you like. For example, I'm
gonna be showing a night after having this scheme, we need to make a thorough
sketch with all or most of the details we would
like to have on our drawing after
having a sketch, we had closed and clean lines. It will be very useful if you'd like to use the magic one tool. If it's not a border for you to color and recolor
everything manually. You of course can
skip this step. The lines I have here are not separated from
the background. The background here is white. It seems transparent because the blending mode of this
layer is set as multiplying. We are not separate
in the lines from the background
because if we'd like, we could use the liquify method to adjust our illustration. Also, you can see that the transparent pixels on
this layer are locked. This is needed because if
we'd like to erase or somehow fix the lines on a sand layer without locking the
transparent pixels, we will be erased and everything that we have on this layer. But if you lock the
transparent pixels and if the background color on the color panel will
be set as white, you won't have any trouble
erasing the lines. All the lines will be turned
into white backgrounds. With that said, let's start working on our
final illustration. We will be adding colors onto the layer color that is
underneath the lines. The main goal here is to use the same color scheme for all the elements you
have in your drawing. Translating the design from
a simple element which has an egg to a complex
which is deleted, make a story from it. Think of different
characters as they are stages of one
character's growth. Grab the brush, beak, the color, and let's try it
out on one area. You can see with this brush that the color is not solely it. And if it's not what you need, Let's do one more thing. Hit F5 on your keyboard and she'll get the
brush process options. Uncheck the transfer checkmark, and she'll have
this solid brush. It isn't permanent
when you change to a different brush
only settings, we'll get to default. That technique to recolor
an area is to deal with the perimeter first and then
add the color in sites, use the brush or
Paint Bucket Tool. The paint bucket tool might
be a bit tricky and could leave a little white outline
between the colored areas, but it is solvable by
doing the following. Select the area inside
with a magic one tool, go to select, modify, expand, and expand your selection
by a few pixels, then get your paint bucket
tool and fill the selection. You might need to click a few times until the line is gone. You also can go
to the layer with the lines and use the
magic one tool to select the parts
and color them on the layer with the color
and expand the selection, fill the areas and fixed manner Ms colored
places with the brush. Select multiple
areas by going to the top panel and turning
on Add to Selection. Try to color everything
nicely and neatly because in the future it
will really easier life. You will be able to work
with each part separately. When you are done defining
different colors, I highly recommend
you to make a copy of the colors layer
and put it underneath. That will be useful a bit later. Now let's add some basic
lightning to the picture. Use the magic one x2 and change the tolerance,
for example, to it's Wednesday, separately select one color
if they're moving, dashed lines are bothering, you hit Control H to not select every same
colored parts separately and check the
contiguous checkmark on the top panel than well,
selecting one color. It will select all
these similar covers, grab the soft brush and add very simple volume to
the separate planes. The copy of the colors layer will help you to select
the parts because you won't be able to
do it while having different zones for
lights and shades. Use the hue, saturation and brightness to play with colors. That's how you can experiment
with color in the details. After you are done experiments
in width your picture, you will face the problem with the backgrounds as the
lines are in separate it, you won't be able to work properly on the background here. So let's solve this problem. Let's copy the layer with the lines and the
layer with the color, and then we will
merge them together. Now pick the magic one tool, select the background
and delete it. If there are some minor
white lines remaining, use the eraser to
get rid of them. All. The final rendering will be
done with the merged layers, which contains getting
rid of the lines, inscribing the character into
the background and so on. And that's it for the
basic understanding of how we're gonna
be working on. In the next part, we'll discuss the visual association methods.
9. Final Drawing: Working on Concepts: When the base is done, it's time to play. Here we'll explore the visual association method in detail. This method really helps
to avoid cliches and it also helps to find
new and better ideas. In the last part, we made
a very basic nights. If someone asked you to
draw a female night, you'll draw something like that. But what if they asked you for a more exciting look and you are free to do absolutely everything that Ruth is working with. No clear understanding
of limits is heart. It only feels like, oh yeah, I can do everything. But when you start drawing, you hit the depth ads. Visual associations help to set the boundaries but not
limit your creativity. For example, you choose
four different words. Let's pick white, line,
flame, and feather. Every word has a
visual association. It might be some
general understanding, icons or even color information, how to implement the
words into the drawing. For the first try, let's ease the task
and start by Adrian, just one word, whites. Now we're just
changing the color. We are not recoloring
everything to white. There shouldn't be
additional covers. They are needed to make the difference with
the background and also we need them
to have the comparison. If you have just a
single dark elements, are the parts become lighter
and the whole picture doesn't look that
pale and that easy. We already have two
options to choose from. Now let's add one more word
that will be the line. Now you need to think of how you can add the line
into your drawing. Two shapes, not likely, probably the line elements
will go to colorant, some pattern on the armor or
on our additional elements. The line also can be
drawn differently. It can be straight, wavy, dashed, solid, and so on. For now, let's just make
a few lines on the armor and maybe a few similar lines
on the dragon and the egg. We'll balance the
color out to make sure it's working with
a whole wide theme. And now we have three
different nights. Let's explore this
second pair of words, flame and feather. Flame can add some
special ethics like sparks or
different colorant because it has a specific
color association, es fur feathers. Well, we can add some physical
feathers or add a pattern, change some shapes and
make them feather alike. Let's not overthink
and simply add the feathers under
some armor elements. And we won't forget about
our other characters. And here we have a very
contrast in design. Now you probably got the idea
of how the method works. You are picking the very
first association with the given words and implementing
it into your drawing. And the cliches are
pretty much gone. If you try to imagine
something just from your head, you probably won't
end up with something very different from
what you already have. And by using the associations, we got a bit more
original upshots. And even when having
just four words, we can play with
different combinations to find a better option
from the variety. For example, let's
add the feathers to the White Nights and the
lines to the flame nights. White plus feathers give
us white feathers and lines and flame give us a
regular pattern that easy, we have more options. But what if we'd like to use two words that seem not
to be combined together, like white and flame, to Color Association words, it probably won't work
if you, for example, we'll add the orange flame
to a white character. We can do better
hearing it to define the hierarchy of
what comes first. Flame isn't that color
characteristic in the first place? We can see the flames, we can feel the flames. We know it physically
exists and it can exist separately from the
color we associated with. So it's not necessarily
red or orange. However, WIP can be
separated from an object. You can just say white and
understand what it's about. It's straight color
characteristic. So in that case, the world-wide goes
above the flame. But one of the white flame is, if you just color it in white, it won't be clear what that is, a gas and missed or what we can get out of this by
making the cold flame, which will be not
white, but blue, and these blue will
sue the White Nights. In general, you can play with
words and their amounts. Use not two but three or four, but try not to overdo it to many different details are
no better than a cliche. The optimal amount
is two or three. Here are all of our options. Thus far, we can go further and create even
more combinations, even just from these four words. After having all the options, you can pick the one
you like the most and continue your
rendering process. Use the knowledge
you gained from the previous parts
of the course. Pay attention to the
lights and shades, materials and detail in zones. That will be all
for this sixth and the last part of the
drawing course series, which was dedicated to
the character drawing. I hope you found this
class and the course in general helpful and
if you liked it, please Chicago the
other classes, give a follow and
leave your review, and thanks for watching.
Xenia Sorokina, Illustrator & Graphic designer
