Transcripts
1. Introduction: My favorite thing about drawing is actually communicating and telling stories. I want to teach you guys what I enjoy the most about drawing. Hi, I'm Gabriel Picolo, I'm 24 years old and I am a comic artist and freelance illustrator. I'd like to work on this really graphic illustrative style, and my work became known for its narrative and the storytelling elements that I love to add on my drawings. On today's class, we're going to design a character, we're going to follow my process from beginning, from the really basis, sketch, pose to the head and expression, then styling, drapery, hair and to finally, color. I think this class will be great for beginner artists and intermedia artists too, especially those whose style is closer to cartoonish and comic bookish art, which are the styles that I usually do. I'll be sharing the tips and tricks, and all the techniques that I use on my daily drawings. I'm so excited that you decided to take this class, so let's get started.
2. Materials: What I usually work with on my drawings, on my sketches are sketchbooks. I really enjoy them. This one is a Camson sketchbook. I really enjoy the texture of the paper. You don't have to be really picky whatever works for you, it's just fine. Some people prefer mechanical pencil because they're really precise. I'm not a big fan. I prefer regular pencils to work, so I usually do regular pencil of black graphite and blue graphite to just make like an outline before using this one. Okay? Some ink disposable pens, this is Faber-Castel really good. Copic if I want to add any color, any sort of shading on the sketches and regular eraser and that's it. So, in this class, we're going to start on paper with pencils and then we're going to move to digital to end the sketch with the coloring, but you can totally finish your work on paper if you're comfortable. When we move to digital, I'm going to use the Cintiq Companion, mine's the first model. As for software, I'm going to use Photoshop CC. I also use Paint Tool SAI when I want to make a really quick sketch, I think it's a really nice software if you are just starting out on digital. As you can see, I keep my tools pretty basic, most of my sketches are just a regular pencil drawings or ink drawings. I don't do watercolors or acrylics or all that stuff, It's okay if you do that, but I usually finish drawings digitally, so that's why. So, we're going to start drawing poses and figure drawing. So, you can get your sketchbooks and pencils and let's get going.
3. Exercise: Figure Drawing Warm-Up: On this lesson, we're going to talk about figure drawing and poses. This is how a day of work begins for me. So, the first thing that I do when I start a day of work is doing some figure drawing practices. These are some of my most recent practices on figure drawing. You can see that it's not anatomically correct and it's not beautiful drawings. It's just practice on gesture and really rough shapes. That's the most important thing to keep in mind when doing these sort of sketches. I can quickly go to a website such as quickposes.com or reference.sketchdaily.net. They are galleries that have lots of resources of nude and clothed models for you to sketch. You can set up a session on either Quick Poses or Reference Sketch Daily. I usually go for 30-seconds sessions. And 30 seconds means you're going to draw each pose, each image they're going to present is going to last for 30 seconds, and you've got to make the most to draw all of the figure, draw all the gesture that's happening there. So, the first drawings, they always look clunky and not as fast as they could be. I usually don't get all of the figure. I usually can't complete the 30-seconds figure. So, that's totally fine. So, then again, you're not looking for a pretty picture yet. You can go for the details later. You want to make a solid base for your drawing. You want to make a natural pose. So, one thing that is interesting to realize on these figure drawings is that there are some tricky parts of the body. I like to call them that they have a higher hierarchy on the movement of the figure and these parts are the hips and the spine. So, if you get these lines before everything else, you're off to a great start, because you're summing up the movement really quick. We usually focus so much on faces, on hands and they're not as important on this first step of your drawing. Leave the faces to polish later. They are not as important right now. You want to catch that movement first. So, I do the 30-seconds practice until I'm feeling warmed up, until my hand is actually drawing as fast as I want it to draw. Then I move to some more detailed practices. So, it's like a two-minute practice, maybe five I spend more time on the figure. So, I chose this pose specifically because it looks very symmetric. It looks like the figure's not jumping, is not doing any extreme movement. This is some good practice because you've got to try your best to make that pose look as symmetrical as possible. So, you artificially create on your drawing this balance. The balance may not exist on your figure that you're referencing but that's your job as an artist to actually find this flow to make your drawing look a little bit more interesting than what you're seeing. So, I usually draw with the blue graphite until this point and when I want to add more details I pick the regular graphite. So, I just erased it to lighten up this guideline sketch, and then I'm going to a more tight sketch. Of course, this specific figure has this clothing wrapped around her and makes some sort of movement that I'm trying to capture too. So, you see how these clothing creates these lines that guide you through her body. So, general rule of thumb for drawings like this is keeping the external lines a little bit darker and then the inside lines lighter. Also helps create that silhouette that I talked about. It enforces the silhouette of the drawing and then your eye goes to the details inside of it. See, the last part of the figure drawing is the face because it's just not important on this sort of study. You're not trying to create a pretty picture. It's just studying this fluidity of the body. I wanted to show you a stiff figure and how you should try to interpret that on your drawing with as much flow, with as much movement as possible. The opposite of the stiff figure, I wanted to draw a figure full of movement such as the ballerina, so that you can see that fundamentally, the principle is the same but the approach is a little bit different. So, use that hierarchy of movement that I talk about. I'm trying to capture the spine and the hips before everything else. So, I get this flow of movement. My pencil's not even leaving the paper, not focusing on anatomy, just this flow of movement that's going on here. I think this is one of the most difficult parts when I'm doing sketches for clients. It's first, I present the layouts and these super rough, full of energy drawings and then I have to make them polished and as clean as possible. I'm always very self-conscious about losing that first energy, that first movement. So, one of my main objectives right now as an artist is trying to not lose that movement. So, what I want you to take from this lesson is; always focus on the movement of the figure. Try to create this balance, even if that doesn't exist, which was the case of this figure. It's a completely stiff figure but you can use the straight lines of the drapery combined with the curved lines of her body to create this movement that it's only happening on your drawings, not exactly on the picture, on the reference that you're drawing from. Then when you have a movement figure, try to simplify, to sum up that movement as quickly as possible using that hierarchy. Always go from the spine and the hips, and then you can release that flow, that movement from the arms, with the limbs, the arms, and the legs. If you want to start drawing that day, start with some figure drawings, it'll really help you warm up.
4. Drawing Your Character's Pose: So we just did these exercises, these warm ups. Now we're going to design the actual character that we're going to do until the end of the class. My idea for this character is, first, it's an archer, so it's probably going to have a bow, it's probably going to have a stack of arrows. The second ingredient that I'm adding on this is it's going to represent the Aquarius Zodiac. So I already have some imagery that I can pick up out of that such as vase, that movement of air or water, that the water bearer is carrying. So I'm going to try to apply that on this first idea of my character. So at this point, I'm going to start sketching the character. Then again, I'm mostly focused on the bows, not focus on anatomy, not focus on doing something pretty. I'm going to sketch out some ideas for poses. Right now, I'm not drawing from reference, but if you're comfortable with using reference, I know that's a really controversial thing in the artist community. Lots of artists are against using reference. I am all for it because, especially if you're just starting and learning how to actually come up with your own poses, it's totally understandable that you're going to use some reference, so don't be afraid. So the focus of this character is on the shape, that shape that the vase representing the water bearer, the Aquarius sign creates. So I'm trying to follow this, this flowy shape which is going to be her skirt. I don't know how her clothing is going to be like but I want this shape to happen on her body. So it's probably going to be a skirt over here. This pose, maybe she will be showing her arrow. Not sure if I'm going to pick this one. So I got three poses to choose. One thing that I really want to make in this character is, obviously the silhouette with the vase shaped like a skirt, but I also want to show her arrow. I'm not that interested on her bow, I'm mostly interested on the archer actually presenting her arrow. So this second one is the one that it's out of the loop. Because remember when we talked about silhouette and trying to make your figure, your pose as readable as possible before even adding color or details. So imagine that her skirt which is going over here, is going to be in front or behind the bow and arrow. So you got like the bow and arrow competing with the shape, the silhouette of the skirt which turns out to be broken. So this pose is not going to work. So I have 1 and 3. I really like how 3 showcases the arrow more, but I think the movement is more natural with 1. So I'm picking this one over 3. Maybe I'll try to use this bow with her hands and arms. Maybe I'll try to incorporate that on 1. Let's see how that goes. I want to keep most of it. Just changing some features. So right now I'm kind of combining the gesture, the hands and arms pose that I had on the third sketch. I'm trying to apply it on this one because I'm not a fan of how she's showing her arrow on that first pose. So in this early stage of the sketches, I'm not taking any, it's not any decisive choice for hair or design yet. I'm just trying to set up her pose right. The only thing that I'm really sure about her is that I want her skirt to resemble the vase shape of the water bearer, of the sign Aquarius. So, here I'm applying that same movement of the legs and so forth. So, curved lines, straight lines. Curved lines, straight lines. If her clothes were not such an important part of her design and what I want is supposed to feel like, I wouldn't be drawing it at this early stage. So I think that's important to notice. Her skirt is basically the reason why I chose this specific pose. So it's pretty important. She's showing her arrow more like the third pose, that was rejected. And right now I have this free space which is like, I don't know exactly what I'm going to do with her hand, so I just decided that I'm going to put her bow on her left hand. This sort of decisions, second thoughts are super, super easy and I recommend them to happen on this early stage of the process because if you're having second thoughts when you're polishing the drawing and finishing it, making like the final adjustments, it's super hard, you're making things so much more difficult for yourself. So, this is the place where you can make mistakes and try a lot of stuff. So here it's clear that the bow is an additional piece. It's not overwhelming anyway, it's not in the way of the rest of her silhouette. That's why I think it's okay to keep it here, and it was not okay on her other pose. Okay? So, I think we're done with the pose. This is a point where I'm comfortable enough with the pose. The foundation is pretty set on this drawing already to move to finer details.
5. Drawing Female vs Male Faces: In this lesson we're going to talk about expressions and head and face features and everything that makes your character look appealing. The expression is basically the first thing that people are going to look at on your character, so you have to be extra careful about that. It's going to say a lot about the character. I know you have pose, you have clothing, you have a lot of things surrounding this character to make it presentable, to create its personality. But we as human beings, the first thing we're going to look at is the face, so that's why this specific lesson is so important. I'm first going to draw a blank expression face and then we are going to understand what creates each sort of expression, like a bigger range of expression and then moving on to more intense, extreme, specific ones. And after that, we are moving back to the character and actually draw their face and their expression. So as a general rule, when I'm drawing my faces, I draw this egg-like shape and then I cut it right there at the middle. I use my ear a lot to guide me because I can align the top of the ear with the eyebrows of the characters, so that's a really important line for me. So another tip for drawing head shapes is treating your head like it's a sort of box. So, imagine if you're closing the head inside a box, all the facial features are going to be on this side of the box and then the ear and the back side of the head is going to be on this other side of the box. So it kind of helps you to make it more three dimensional. It's a really difficult shape to work because it's a round shape, but if you practice this box principal and then you kind of start to visualize it even if you don't draw the box. So, on this character, I'm drawing a female face. There are some specific traits that you can be aware of in terms of females is making the eyelashes really strong and making the eyebrows a little bit farther away from the eyes and mouth, you can go when drawing girls, you can either go with a super slim and tiny lips. I think they work, I personally like them, or you can make it super strong and bold. So this will be a neutral expression. Also notice that as I'm drawing a female face, I'm using mostly curves. I'm going to draw a male face in a bit and it's going to be completely different shapes to structure it. Some hairline, back of her head. Okay, moving on. So I'm going to draw a male face right now. I start with the same principle, the same egg-shaped face where you're going to see that the shapes that I'm going to use in this is entirely different. So, I'm trying to make them somewhat the same age, okay. So that line that makes the eyebrows cutting like almost the half of the egg. So first thing, the eyebrows are going to be really strong. It's not a rule, like you can play around that a lot, but often it's going to be strong eyebrows for guys. Not a lot of focus on the lashes, like we did on the girls, just keep them normal and regular like the rest of the eyes, okay. With guys we can either go super, super simple with the nose, make it look really soft or we can actually draw it and make it really sharp. So, I'm actually putting that line over there. Okay, not a lot of focus on the mouth too. I have this personal preference of drawing the face features before drawing the rest of the head, because it makes easier for me to make the proportions look correct. So, usually, you can also use the necks to emphasize the female features or male features of your character. So, for example, the female necks are always going to be really curvy and longer than men's, men's going to be all solid, one solid shape and usually shorter too.
6. Drawing the Four Core Expressions: We're moving onto facial features and what makes expressions look unique, what can we change on the character, what facial features, can we change to emphasize to show each expression. The first one of the most important parts of the phase we're going to change in every expression is the eyebrows. Then the eyes which we can break down into pupils and eyelids, but the eyes in general and then the mouth. These are the most important ones. So now that we know how we can play with the facial features to achieve certain expressions, my approach right now is going to be aiming at specific expressions like we know what we are aiming at, where our target is, and then we're going to change and move the facial features until we get there. There's an unlimited amount of expressions that you can try but there are some broader expressions that are kind of the source of the other ones. So, if you can nail down these most important ones and just change some basic features, some small lines you can achieve some more complex expressions. So, these broader ones will be happy, anger, fear, and sad. So, I'm starting with the happy expression. One thing that I see a lot of artists get mistaken is when you're drawing a smile, you want this small part, the eyelid, the lower eyelid it's going to show because your smile is moving the muscle of your cheek. It kind of creates this, I would say the genuine smile. Also when we look at pictures, we can also see if that person is smiling, it's a genuine smile or not. It's something kind of unconscious that we do, but this lower eyelid movement is so important. You should be aware that creating a genuine smile is not about actually how the mouth is going to look like, it's not about the smile but actually how the rest of the face especially the eyes are going to move and how they look like. Notice how the smile is really pushing the cheek really close to the characters eye, and then the eyelids became different from the poker face expression. We can twist it a little bit for example the eyebrows. So, for example if you want to make this character to look more confident, more like the let's say the Dmanga protagonist, this is really, really a trope for manga protagonists smiles. Is drawing a huge smile and then making the eyebrows as if the character's angry but he's not because he's smiling. So, really creates this confident face. So, this is an example of how you can just mess around with your facial features if you know which ones are the most important can just mess around with them until you reach the exact expression that you're looking after. Now, we're moving on to some other basic expressions such as anger. Eyebrows are the most important part and they should be really connected to the eyelids. Can play wrinkles in your favorite but not exactly necessarily. I add just a few, maybe draw a little line on the mouth to connect with because the mouth was just opened up, so you see this line connected to the mouth. So, next expression I want to show that's a really basic one. It's the fear and scared expressions. The eyebrows are always going to point up. How up they are going to be, is maybe is how scared your character is. So, you can play around with that a lot. The eyes, they have to be opened up and the pupils are going to be small. The mouth is also open to you, but I would say the eyes and eyebrows combination is the trick you want to get with this sort of expression. So, the last of the basic expressions is the sad one. So, this is one of my favorite tools because especially with beakers in the sun, I draw a lot of sad expressions. So, I kind of became a thing for me. This is a tricky one too because when people draw sad characters, they usually put tears on them and it's not something I enjoy doing because I think it's a really powerful resource to actually use tears on a character. Personally, I try to avoid it unless it's a really, really strong moment. Maybe you're going to make the character look downwards or like to the other side. It's a really subtle movement of the eyes but makes a lot of difference. When you're sad you're not looking straight at someone else's face, if that makes sense. Then again you can now add some wrinkles, some lines, and your D eyes because they're like almost closing not entirely closed but almost closing. The eyelids are going to show because the eyes are so low. I can add some lines here close to mouth and that's it. We have all basic expressions layed down.
7. Exercise: Extreme Expressions: We just went through the four most basic expressions. I know there's an infinite amount of them, an infinite combination of facial features. This exercise will help you nail down these expressions and use these different facial features combinations properly. So, this exercise is about drawing one expression, one of the basic expressions let's say. Then, draw the extreme version of that expression. So, first we try to use like the facial features to create a basic expression and then, you will try to use everything that you can. You can include the angle of the head, the lighting, any wrinkles you can add, anything at all to make that expression look as extreme as possible. So, one tip that I always give is try to imagine your characters like your actors. They are the scene and they have to be super extreme and extravagant about it because no one likes to see stoic faces on characters, boring faces on characters. The most you can make them human, the most appealing they will be. Let's say you're doing a scary expression and then you're moving to the terrified expression. How different will they be? So, as we saw before, fear and scariness can be done by arching the eyebrows, toppling upwards, really open eyelids, and small pupils. Mouth doesn't really matter. Let's say, we are going to draw, we are going to show some teeth. That's it. We already have the basic scared expression. Okay, so, now, let's try to increase that feeling and make the same character look terrified. So, I already changed the angle of the head a little bit. It's not required to do this, it's just an option. But for this specific expression, it's a horror movie expression and the character just finds that body on the basement and then the camera is pointing from below his face. So, I'm using lower eyelids, I'm using the eyebrows. After I did the basic outline for this face, I can also use lighting to emphasize the expression. This again, is a horror movie technique. Let's add some shadows on his eyes like as if the lighting is coming from the low, you just found something. Looks almost comical because it's just so extreme. But this is a really interesting exercise to play around with expressions and facial features. So, this will be the difference of a scary face and a terrified one.
8. Drawing Your Character's Expression: We're going back to the character now. Now, we know that there's a lot of expressions that you can try it out on this specific character. I'm not going to go through a lot of them because I have this clear vision of how this character is going to look like. I know that's not the case every time, so you can play around and to find something that fits that character. This character specifically it's the representative of the Aquarius zodiac, so as an air sign, it's going to be cheerful and energized. So, I'm going to work on that expression here. So, I created this, I made this pose, so that you can see the archer's arrow, she's kind of presenting it to you. So, I'm going to make her eyes look straight at the arrow. It's kind of a trick that we can use. Remember that we are always looking at faces and specifically we're always looking at eyes. So, if you point the eyes of a character to something, it's going to guide the eye of the viewer straight to that thing. So, keep that in mind.
9. Finalizing Clothing and Style: As I did the face, I'm basically done with my traditional sketch and now I'm going to finish it on computer. So, I'm going to take a picture of it and send it to my Cintiq where I can work it into the final art. I always like to put the tools that I use next to the drawing. I think it looks nice. It's not a crime in any sense. I'll be continuing my illustration on my Cintiq. I'm using Photoshop but you can totally finish it on your sketchbook, or if you have any other kind of software or tablet it also works just fine. So, I just took a picture of my drawing. I sent it to my email, downloaded it, and now I'm working on it on my Cintiq. The first thing that I want to do on this picture is messing with the contrast and levels and that sort of stuff. So, I can right over here. So, let's say I want to mess around with the contrast. Then okay, and it creates like this layer over here and I can just keep adding adjustments. And this is what I mostly do on my digital drawings, okay. So, let's go for selective color to change the white here. Make it more neutral. Before we start doing the drapery, and the clothing, and style of the character, I want to talk about the shapes that you can use in your favor. It's going to be really quick. It's a basic design technique. You can guide your designs through three simple shapes which are the triangle, the circle, and the square. So, the triangle, it always points your eye to something, okay. The circle is going to be for approachable characters. It brings comfort, and the squarish one is for straightforward characters and confident shapes. So for example, on my Zodiac Archer that I did that represents the Virgo Zodiac, I guided her design towards this triangle shape, because I wanted it to look up straight at her face. So, it's kind of a tool that helps me do that. So, I'm going to polish the lines a little bit. For this specific inking, I'm using Cuyo Webster's pocket brush. So, now that I have a sketch to work on, I can finally start to think about clothes and accessories and all that interesting stuff that she is going to be wearing. I'm making a skirt that goes all the way into her feet. Drags around on the floor like this. So, one tip on drawing clothes on characters is actually drawing them without the gloves first. And I know this is really basic advice, but it makes all the difference. Because you want to draw the clothes, and they have to look like the character is actually wearing them. I'm going to draw some bracelets on her wrists and ankles. You won't draw it like this, straight. You're going to draw slightly curved. Because if you could see on the other sides, it's wrapping up her entire leg. Okay. So, I'm basing all my wardrobe choices on her skirt again, because I want it to be the focus of this specific character. So for example, I don't want to draw your attention to her torso or her head. So, I'm going to put a really simple clothing on her waist so that it does not takes the attention from her main piece of cloth. The last part of the design before moving to color is adding a touch of something interesting, something out of the loop just to make your character somewhat mysterious, somewhat more interesting to your viewer. I like to call these the Easter eggs that you can put on your character. One of these for all my zodiac archers is the bows and arrows, because they are so unique, they are so different that you instantly create the- instantly it generates interest on these characters. These are the bows and arrows for all the Zodiac archers. It's interesting because I actually came up with the arrows first, then I created the bows based on the arrows and finally, I started to create the archers for each of them. So, they were doing the Aquarius Archer. They had these specific arrow, and that's the one I'm going to draw right now. You don't need to have these amount of detail on your Easter egg, but because as I said, it's just a small detail that generates an interest on your character. It can be something as small as a necklace, as a piece of clothing, maybe a pattern on a shirt. So, anything you can add that generates this curiosity on your viewer, it's going to make a lot on your final- it's going to make a lot of difference on the final design too. So, I just did these interesting weapons on her, and as you can see, when I created the Zodiac arrow of representing Aquarius, I did these small leaves falling down off the arrow trying to simulate the air that comes out of the water bearer. So, that's why I chose these specific leaves. And I'm going to draw some more of the same leaves on this drawing just to make the composition more interesting. That's totally optional, by the way. I got to a point where her design is pretty much complete. Her clothing is all set up. I also add a little bit of interest, an interesting accessory. Now it's time to move on to the final part, which is coloring.
10. Adding Color: We're moving to color, which is the final part of this class. First of all, before choosing any colors, I'm going to do the flats, which is basically filling the character with color so I can work on it later. Because I can lock the layer in which these colors are located, and then just work on the character after that. So, I just picked a random color that's going to pop up a lot which is red, and I'll be filling the character. After that, I can pick the colors and actually move to the fun part. I'm going to do this real quick. I'm done with the flats. Right now, it's time to actually start coloring, picking up colors. My coloring style is really intuitive. You're going to see I use a lot of adjustments. Actually, my coloring is all about adjustments because I don't consider myself a good painter. I don't have a good eye for this sort of stuff. So, I'll just throw in her skin undertone. I'm basing this character on the zodiac arrow and bow. So, I have pretty much a color scheme that I want to follow. Picking color schemes is really tricky for me because as I said, I don't have the best eye for that. So, I usually rely on nice pictures. You should have a folder in your computer with this really interesting photography with interesting colors, so that you can have a nice base to start on. Colors are really tricky because you shouldn't be relying entirely for example on pictures because every color on your canvas is going to have a really close relationship to the color that is right next to it. This is the sort of adjustment that I do a lot on my drawings. This same icon, the adjustment layer, I click on selective color, and then, I'm free to adjust it, until I find the color that looks nicer. That's why I said that my coloring style is really intuitive because I basically mess around these options until I find something that I like. So, I want this air surrounding her to be a little bit green. One thing that is a trademark of my work is that I don't do a lot of shading. I don't do rendering at all because I just don't think it's interesting. So, I try to create some interest on my coloring by adding some really smooth gradients. So, I pick a round brush without any hardness, and then, I start to add those different tones to make the drawing more interesting. So, one thing that I'm not enjoying about this character is that it looks too much the same coloring. So, I'm going to change the color of her hair to something different so that it creates some contrast with all this green and turquoise going on. Another thing I always do in my drawings is, I create a layer on top of everything else that I have, fill it entirely with black, and set that layer to saturation. So, I can make these values check how contrasting each color is to each other. So, what I always try to avoid is getting two colors that are too close to each other on value because that will make my drawing less readable. So, for example, let's say her skin tone was closer, it was like a color value closer to her clothing, that will make it less readable. So, I'm trying to avoid that. Thankfully, I created a good contrast but that's something you should always keep in mind. So, I keep turning this on and off in my drawings. So, one thing that I do on my drawings is, when I have my color scheme set up, when I'm comfortable with it, I just keep stealing the colors and spreading them all around my drawing so they'd get more cohesive. So, one thing I like to play around is actually adding these digital effects on my traditional drawings. So, I open the hard light layer or vivid light, pin light layer. Any of these work depends on the sort of lighting that you're doing. Then I just add this touch of lighting on the drawing, not too much though. Another final touch is opening a multiply layer on top of everything, then I get one of my Kyle Webster brushes and add a little bit of texture on my drawing. So, this one reminds me a bit of watercolor, so I really like the effect, just adds just a little texture. Finally, I select all the colors that I have and I add one more touch of texture on top of everything. Again, I choose a middle tone of gray, paint on top of it. Filter noise, add noise. These are the settings. So, it's basically Gaussian noise with all the amount possible. Then filter gallery, use spatter. The options don't matter that much. I usually go with these all the time. Put down okay, then I'm going to repeat that same action, clicking over here, filter gallery, just to add a little bit more of that same filter. Finally, I'm going to desaturate. Okay, so I have my texture ready. I set that layer to overlay, and I just toned it down a little bit, and there you go. This is totally optional, but one final thing you can do is going to color balance and try that last adjustment on your canvas. So, there you go. So, as you can see, my coloring process is really intuitive. I'm just adjusting colors all the time until I think it's interesting enough. I hope you could take something out of it.
11. Final Thoughts: Before we end, I'd like to talk a little bit about style. I hope that after seeing my full process, you could see that the style, it's not something I target specifically, or I end my work towards, it just naturally happens. It's the choices like the sort of eye that you want to draw. How narrow my character's shoulders are, or how specific I draw my fingers. So, each of these specific choices, aesthetic choices such as my choice for wardrobe, even those shapes that I use on my work, all of these is what creates your style. So, please don't focus on that. I really hope you enjoyed this class. It was really nice to actually go so in-depth in my own process. If I can sum this class up for you, I would say work on your foundations and be comfortable with them because if you're comfortable on this part, which is the base of all your work, you're off to a great start. The details, okay, they are important, they make your work look nice, but they will not fix your drawing. So, focus on the bases. That's the most important part for me. So, I hope you upload your work at the Project Gallery, and if you have any questions at all, you can just put them there and I'll try to answer as many as I can. I hope you enjoyed this class, and thanks for watching.
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Gabriel Picolo, Comic Artist and Illustrator
