Create Cartoony characters from Inanimated objects

1. PROMO: Hi, my name is Marina Abramovic and I'm an artist director and animator. In this course, I'm going to teach you how to create cartoony characters out of, in animated afterwards. I've had a long career in animation, designing character and illustrating books. I've learned one thing, that's the first steps are the most important. Another thing I've learned for us my career is that it is important for two characters to look likable, appealing. Now, why in animated objects? To find a character design is a job itself, but to have to deal with anatomy on top of that is also another thing. Humans and animals have very complex anatomy. That's why they're really hard to draw. Drawing in animated objects can get rid of this problem altogether. You can choose very simple objects and turn them into cartoony characters. In this course, I'm going to show you step-by-step how to do that. It's going to be fun and it's going to be easy. And I'm going to show you a very simple method of how you can design any character. If you're a beginner and you've never drawn anything is this course for me, on this course is precisely for you. Because the methods I'm teaching is really, really simple and anyone can do it. And you're not gonna struggle with perspective where it's anatomy and, or anything else. So let me show you how you can design fun and interesting cartoon characters out of inanimate objects. Follow me in this course. You won't regret it. 2. WarmUp: Hi there. Now before we start drawing for real, Let's warm up a little bit. What do you need to know here is that you have to sketch with a loose hand. This is something that we need to get into practice. And if you've taken my other lectures, you know, what is this all about? So this time instead of only spheres, we're going to draft curves. We're going to work a lot with curves and with spheres. So just drafts and curves and work with several lines at the same time. Don just make a curve like that. Just even though you can do it right. Get used to, to draft the shape first. We'll fund you arm and draw freely from the from the wrist down and just draw random curves like adult. So it creates an arc. We're going to work a lot with RX because cartoony characters, even though we draw something that is not a curve, like a fork, for example, we're going to try to put life into them by giving them a nice arc, but I'm going to talk about that when we get to it. So draw some curves and now also draw some spheres, embryos that have been here before with me. You know how he draws fears. We go withdraw it from the shoulders down, moving the whole together and just dropped a couple of spheres like that. And you see how you can build the shape. Or you can see the shape coming along and you kind of draw a clear sphere. So if you go on with a thicker line on top of that, it will be easier for you to draw a sphere. That is pretty much correct. So let's do a couple of these exercises. You see that you start with a scribble and then the more you draw the proper sphere becomes again with loose arm. And again for those that are new with me on this lecture, redraw with the blue and the black pencil. And that is because if you are a beginner, you want to draw perfect drawing from the get-go. And if you start with a black pencil, It's kind of feel like you're drawing is complete. But before we find a real drawing, the real shape of our character, we want to try it out. We want to sketch in the beginning. If you draw with a blue pencil, you trick your mind to believe that this is not, this is not a final drawing yet. I can, I can experiment here. I can find the shape. It doesn't have to be concrete, it doesn't have to be final. So you have more scope and you have more freedom to experiment with your drawing. So this is basically just for your own sake to get rid of this fear, doing it in the wrong way. So now you've had some warm up and let's go ahead and start with our real exercise. 3. Fork and Spoon: Welcome to the first fun lecture. We're going to design in animated objects. And we're going to start from a fork and spoon. So how can we make this into fun, cartoony characters? Now, first, let's start with designing an arc. Even though the fork is straightforward, we want to have a character look like as if it has a spine, or spine is bent in certain directions. So we're going to start with designing a simple skeleton and a simple structure for the fork. Let's start with a line like that. And we're going to have another line like that for the spoon. What kind of characteristics we can find for spoon and the spoon and the fork. So let's have the fork be a male and a female. What can we take from these shapes to look like a male or female? Let's start with a fork here. Without a male character, we can have spikes here, a look like a hair. To draw the spikes, I'm going to rough out something like a shape. So I'll just draw an egg shape. And again, and the way I showed you, where loose hand. Here you'll see why we have to draw the little sand just to find the shape. So the fork will be contained within this X shape. And we're going to design something like a bottom. So we said like here is going to be the Forex. Feet soldier saves. It's not gonna have feet apart. It's going to be the surround thing of the fork, and we're going to exaggerate it. The fork Wolpe turns with this shape up and we're going to do the other way around with a spoon. We're going to the strand to spawn web shaped down. Because we can do anything, It's good to me characters, we can design them the way we want them. And you can see how easy it is to create simple characters by just using animated objects that you have at your home. So we'll design the spoon here and we'll do the same shape for the spoon over here. Something like the ending of the sperm gonna make up a little bit around egg shape, like this is enough for us to start. We have the structure of this character's a cell. Now let's decide how they will look like while the forecasts these spikes here. Let's design the spikes within this egg shape. We can do that by splitting approximately this shape in for sparse because we have the four spikes are therefore Pk. One is going to be here, another one is going to be here and draw roughly. You can see the shading almost off the spikes and approximately, approximately design and even shape of the fork like that. And this is also going to be the face of our character. Here. This one is going to be like her dress the dress up or characters. So we're going to design the spawn. We're just going to continue this form here. You see that the egg shape is already given when you draw winds like that's a rough lines like that. You can find the egg shape within these lines and just scribbles. Here is going to be the round shape of the spoon, like this one, but this is going to be the head corresponds. So you just thicken the lines that it's already given from this egg-shaped forum. Continue on both of the both ways of this spine here. Rough it out down. And you see that even though the spoon is in animated, just adding this curvature to the character gives us our character like moral. Living as if an nonliving creature. As if the spoon is kind of having fun bending towards the fort as if they are having some kind of discussion. Now, let's continue with a fork and actually do the other way around. So we're going to connect the ending of this sides. The fork. This round shape here. Make it look as if this fork is having it. Feet of here. That's what y is so easy to draw characters with an animated objects because you don't have to worry about anatomy. Human anatomy is a complex thing. And when you try to find arms and legs and there is bones and muscles under it and it can get difficult very easily if you're not familiar, if you're not used to rip and if you're a beginner and drawn, drawing in animated objects frees you from this problem. Now, we are going to have the face of respawn being over here. And we said she's going to be female. So we are going to design cartoony eyes like spheres. And she's going to have big eyes because they're going to match this shape here like address. And she's going to look at the fork. Let's design some lashes and her eyes is going to be slightly closed like she is nice female and this curvature here, but it will also signify eye lashes as if there is a kind of a Florida kind of game between them. Will have her eyes looking here. So another sphere around here. Here we have female for almost coming to wife. And she's going to have her mouth over here. So draw another small sphere, or an ellipse, egg-shaped ellipse for the mouth. And just draw two lines on both sides and continue the line insight to draw her lips. And that's basically all we need to do. Now let's design even our male character. He is going to have maybe his eyes here. He's going to be tough male. And we're going to use actually this shape of the fork. Maybe design some stashes. So we're going to continue this shape and continue down with two other curves. And this one will continue. We'll have another curve up. And this is going to be the males and starches. And now we're going to put on some eyes of these character. And he is looking at the female. And let's have him have some eyebrows. Thick eyebrows, just two curves. If you draw them just loosely, you'll get the eyebrows automatically. Now, let's shape the spikes of his fork. So we see that it has some kind of a triangular shape. We can just follow the egg shape that we did or part of this life that we quickly drew. And now you can see how we can use dots because we have so many lines. It suggests to us what the shape is going to be. Draw these spikes as if it is a character's hair. They're sharp. So it suggests a small masculinity. He stuffed guy. And this one on here is female. She's nice and tender female character. And just draw the rest of the shapes better off. Now we have the spawn over here. What else can we do? We are going to give them arms. So the arms can be very simple, just the line and the male is going to have his arm band on his on his waist. And here we can decide that the waste is going to be approximately here. This is just up to you to find the proportions of this guy. So just rough out the curve with another curve tells make some fingers. The other arm is going to go like that. And if you don't know how to pull certain things, just look yourself in the mirror and see how your arm bands. When you do some posts, this will just help you to draw your character. And we're not going to do complex arms here just in those simple shapes. And it has some fingers just signify them. Just like stick figure. The female character, she'll be alike, just trying to play hard to get all my, you can have a dialogue for these characters in your head to help you find the gestures of your character. So she's going to have her hands bend on the other direction of where she's spending. Kind of like put her hands together. So just put some fingers bringing in loosely like that. Just with as a stick figure. So now we have our characters already done and we can see who they are. But let's go with a black pencil and define the characters better. We can see how they come to life. I'm gonna do that in the next lecture. 4. Refining the Fork and Spoon: Well, welcome back. Now we have our characters are already done with a rough sketch, and now we can go with a black pencil and basically just go over the lines that we like and ignore the lines, dots we don't like. Add some more features to make your characters look even better. You can design a whole movie like that. As you know, you've seen the Disney movie, Beauty and the Beast where the whole castle, they're older and all the objects come to life and become animated objects. They all have their own personality. They have different character traits. Now that I have this curve here, I make another eyelash to give her more personality and signify that this is not a mistake. This curve is not, therefore no reason at all, but it is to signify that it's an eyelash. I can enhance it even more. Now. Can enhance the eyes, the pupils here. So we just continue to refined or characters. Discover who they also are. Define the features. Now we can have the mouth here and make just a little bit of bending for the upper limb. And continue to draw on top of the blue lines for the upper lip and define their lower lip. It's the lower part of this spear or an egg-shaped that we already designed and shaded a little bit like a lipstick. Let's continue with the upper part of the spoon. And now it's very easy because we have this blue shapes underneath. Because we've drawn my new lines. We can clearly see which one is fitting best for our character. And we will have the spoon be a little bit thinner. Here in the middle. Kind of a small waist. Dust. Think of what you can turn the features of each in animated objects, how you can make it more human-like. Because the characters, each character redraw is actually ISA, is just a human. We recognize ourselves in everything we see is basically we want to find the same characteristics to be able to feel sympathy and empathy for these characters. That's why you can design any cartoony character from any kind of shape, as long as you put human features to it. Human features are so different. And we can explore a different archetypes of humans. Archetype is basically certain traits for a certain character. That is more of a general, general traits. We have female that is standard, that has small waist. Of course not all characters, not all feel miles alloc that. But we need to generalize when we create a character and then when we have generalized that, we can define the features and more of our personality. Now we can just see how the hand is like that. We can describe that. Just went live. Basically super simple shapes. You don't need more than that to design a simple cartoony character of a spoon. The female is done. Let's design even the male character. Define the features on top of the blue lines. And the eyes like that. So you can live a small white dot in the middle of the eye and it looks as if it's if it's glossy. If there is a light hitting the pupil and makes it more alive, more human-like. And he immediately with such a simple technique, he just keeps life to your character. You can grab this character later on and just put it in any program. In digital program and color it. Now actually, what I'm seeing here, this character, I'm unclear. I'm going to make this Stash kind of all even shape and I'm going to use this part of the character to have a lip, lower lip of the male character. And I'm even going to design some kind of a chunk of hair on the mustache. Give it even more personality. What kind of thickness this Mustache has? I'm going to shade it. So it's a dark, dark most stars like that. And now I'm going to finalize even the forks character. Because remember we are drawing actually fork. I mean, at some point we might forget them because the character comes to live and it looks appealing. You can look nice. You don't thing it's a fork, but it has a fork. You can think of what kind of day, what kind of habits these forecasts, how would it woke? Maybe this character is just jumping in because it doesn't have legs. It jumps and this character might be just moves like that because she's more tender, is feels like this is her dress. And hello our bodies. So it kind of like slides as if she's dancing while this male character, let me just jumps. And justifying his body. You see how simple it is when you use these basic shapes, you can just draw anything. Also, you train yourself in confidence because if you dressed, Draw with the black pencil. You wouldn't know where to put things and it will be very easy for you to fail or to think that you fail. Because you don't have a map on which to draw, because this blue lines, he's kind of r or characters map shows us where things are. It makes us explore the characters. Here. Again, you can look at your arm in the middle, how this shapes are going to be. So just make a silhouette, just stick figure. And that's all you need to make your character feel alive. And just decide which lines here you want to thicken so that it looks good. You have a nice, nice curve and have this fingers again like a curvy line. You'll see how much help we get now, when we've practiced to draw a curvy line in the beginning of the lectures because everything can be described with this curvy line, with this arc, basically, I'm like that. And now we have our two characters talking to each other. These are the first in animated object of a fork and spoon. And let's continue with some other fun designs in the next lecture. See you there. 5. Designing a Teapot: Welcome back. Now, let's explore some other designs and there are so many in animated objects, so we have a huge choice. Why we started with fork and spoon. Let's go with some kitchen attributes as well. Let's design a teapot. One thing that we can think about that we can, we can gather references of what kind of teapot we want to have. But to start with, just try to simplify whatever teapot you have done, draw too many details because we can focus on the character instead. I'll start with a sphere, a little bit egg-shaped, an ellipse. This is going to be the body of our teapot. Again, teapot is rather round, so we can think of our design of a character type that would have this round shape. We can add characteristics to the objects we are drawing. We can add the middle line or a spine on this teapot. So just draw a middle align like that, a curve of wine. Now teapot is less curved spoon and the fork because they have slender body, if we are to say that they're that they're long shaped, they have is actually a body. And this one has a rather chunky feature. So what kind of character can we make up out of duct? We can associate a teapot with some kind of old ladies, old round ladies that like to bake. This can lead us into designing a character out of a teapot that is associated with that. So a teapot has also something like a comp. Let's add this gap as maybe a chunk of hair for the lady. Just rough it out before you know how you design is going to be. You have to be pretty loose with your characteristics because none of us now know how this deep body's going to. Turned out. We have an intention of what kind of a design may want to have, but we're trying it out. And now the tip board has a handle. We can either make an arm out of the handle, but that requires that the teapot is going to be in this position all the time. So if you are going to animate this character, this arm is going to be bent. As soon as you try to do something with a handle, the arm, the shape of the T portable disappear. So let's design this character without arms and use the shapes that it has and see what we get. We've has a handle here. We have the spout here. We're going to design it little bit like that. It can vary, just try to imagine them, but also maybe you can find some references. Sometimes if you have too many references, you can get stuck in details. So it can find a teapot that your wife, but then just try to play around with the shape that you know, a cell. Now we have kind of a teapot like that and we can bend it a little bit in this direction. And now we know that this is not only a spine, but it's signifies the middle of our character. And we can choose here where the eyes are going to be. Are we gonna draw big eyes, small lies? This is up to you, but we want this to appear a little overweight older lady. When you want to have a body of beer or bigger, you designed the details smaller. I'm going to have the eyes of this lady to be approximately here. And one, while I'm drawing sphere, this is just the spot I want to have where the eyes are going to be. You can signify and have M51 help lines, whatever you want with spheres. So the eyes are going to be here and then this fine here, our disk curvature will signify the middle line of this Potts from which each side of the port will be symmetrical too, as if it is a body of this character. Now we're going to have the eyes here and we're going to even design and small nose. And we're going to have. Some small little mouth and just draw a shape. And we're going to have big lips. Just draw another sphere. Curvature that will signify a smile. Now let's draw the eyes of these lady. And if you have crossed, this is a signature for the cartoony characters. Because cartoony characters are cute because they remind us of babies. And even though we draw an old lady, if you have a round eyes and they're cute, the pupils are little bit crossed the ICT, Danny, remind us of babies and they look cute even though if we describe and all the character, this is a no trick that is discovered. Party all artists at Walt Disney, that characters look cuter, the bigger eyes they have. Because our brain work always with associations. What we associate certain features and types of just like, let's make a game the eyes with the eyelashes. It's going to be a proper Porsche little lady drinking tea from a teapot. And maybe here we want to have, maybe she'll have double chin. Now that we are talking about characters. And we'll have this double chin a little bit here. And now we already have oral character's design. Now, let's add up the details here and route them up. And you see these shapes. This curvature and this round shapes already suggests to us where this handle is going to be. We are going to round it up like that, maybe find some kind of ending. And they are ending approximately on the same line. You can put it on the line here, but you can also just have them just before the line and gives them more perspective. And then it gives more volume to the character perspective. When you're designing things in perspective, it makes the character look three-dimensional, which contributes to how believable your character look like. But of course, this is also a style thing. If you design something in perspective, you should just keep up this style of fruit. But there are many other styles that you can use in your design. You can have decorative style, then you don't have to worry. So much about perspective. Quite the contrary, you can twist the perspective. You can tweak it in a way you want it. Now we follow this shape here that we designed, this ellipse. And we see that where the cup is. If you squint your eyes and look at the shape, you will basically see that these scribbles here of lines is actually suggesting or whether next shape is going to be. One thing to find the shape is when you do the like that and you're just a rough out your drawing and you squint with your eyes. And even if your drawing is not correct, you will see the shape. Try it out and see how it works. And now we have this teapot already done almost. And here we have an old lady as a teapot. Now, let's define it. This character with our black pencil to see what we get. And we'll round out this shape a little bit like that here. It can add more ornaments, you can add anything later on. Let's, let's make it clean, clean design like that because we can easily see the character. Then we can, you can add patterns as flowers or round adults because this is still an animated objects. So you take the characteristic of this object and turn it into a character that also suggests something about how this object is used in the daily life. And also make, make your viewers or your readers or whatever you want this design for to have a better feeling, embed a sense who this character is. You see that I'm just going on top of the blue lines and defining the BlueLine that was already there. And we started with this just sphere here and the scribbles here. But the more I advanced in my drawing and the more I keep the lines loose. The better I can see later on the shape. And these blue lines are non disturbing me. One of the things that the beginners wanted to have is they want to have clean drawing. Don't want to have all this mess around here. We have the event expression down the color outside the lines will do color outside the lines if you want to learn how to draw. Because in the process, you will learn to love this, scribbles and is mess. And it will look more appealing to you than a clean drawing. You will see the process of thinking and the character becomes more alive. Because our process, thinking, the creative process, is an exciting thing. We want to see. What it looks like in the kitchen of people we admire, whatever they are artists though their shirts, they're cooking. We want to see the mess out, how to do stuff, how something comes to life. That's the same thing with drawing. You want to see your kitchen. You're drawing kitchen. So these lines is going to be more and more exciting for you. The more you draw. Now we have the mouth and let us give her some lipstick. She has tried. This old lady. You see justice little chain here is giving her this old lady character. And maybe we will add another line as a chin. And we can add some kind of freckle. They have this modern freckles that they used to do that before. And old ladies sometimes still put it on because they experienced that this was or best time when they were young and pretty and delta times maybe they added a freckle like that. On purpose. No, we are trying to get rid of those. But sometimes before there were modern. That's how time changes and you can use these features and everything that people do and create can be contributing to your design. So be observant. Not about being judgmental of how people do and say like, why did you do that or do dots. There are differences is what makes us unique. As a character designer. This can make you great character design them because you can add contributes like dots and make your design even better. Now this is our teapot. And here we can add maybe as necklace and ornaments of this old lady. So we'll add a spheres like that. This can be a little tricky because here for this ornaments, you have to find the perspective. You have to follow a line that is approximately similar to this line, but slightly, slightly narrower. Because the perspective, perspective changes applies to how the ornaments are applied to this character. Here, we can add some spheres like that, and they go all around, so shade him a little bit as if they're a different color. And if you're working on a Photoshop or I'm taking it in digital program. How are you color it? You can give different color to this necklace. It hands us the look of code is ladies. Here we have a nice cute character as a teapot. And now that we said a teapot, mcons go without cup, a teacup. So let's do another character next to her, which is a teacup. 6. Designing a Teacup: Let's do another character here, and it is going to be a cop. And it is a tea party. We said, let's start with designing the cup. And again, we start with a sphere OMA, egg shape. This is going to be the help lines or help shapes from where or a cup is going to be. We can even put a plate under the cup. So another x save. You see it's already looks like a, like a plate because the plate has the same round shape as the cup. But we will be designing or characters in their best point of view so we can see the silhouette. So I'll probably not design a cup that we see from above. There's going to be always be from the site. So we can clearly see the silhouette. As a character designer. This is something you have to think about, that you have to have a clear silhouettes, which means that you design your characters from them. Best angle for this character, that they look the best. This is some kind of like you're taking a picture for Instagram. You won't just put a picture that you photograph yourself from top down and you're trying to find the best angle. And this is basically what silhouette is. We can see already that we can use this shape for the cup. And the cup is going to end approximately here. And use even this shape for the cup. Let's do the line to see where the cups, so-called spinous or a middle line. Again, the cup is not going to be banned as much as the fork, the spawn, because it's also a little chunky. Will have these ladies having tea party, teapot and a teacup. Here is another ellipse. This ellipse is going to be similar like the ellipse of the plate, but it's going to be a little narrower because it feels like we're looking at this gap from a litho slightly from an angle from the top. Which means that the perspective suggests that the lower you get, The lower down we see the warranties as ellipsis or shapes will look like a sphere. And you know that if you look at a cup from the top, it's a clear perfect sphere. This is a little bit about perspective. So let us design this garb being this way. And here we have a cup, and now we're going to have a handle for this cup. Let's design another egg, egg-shaped but turned in this direction. And here we have the helpline, or Handel. Who is this character going to be? It's going to be maybe a younger lady. So let's have her eyes being here. How can we have a younger lady? We can have maybe her eyes being morph, not as round. So we perceive her as somewhat more sophisticated. In our sophisticated is kind of like you have this makeup that makes your eyes look longer, wider. We can have this egg shape spheres here. And you'll have the nice eyebrows is a young lady. And we'll have the tender mouth. Again also a little bit as our triangular shape. Here we have some help lines with four dots. Now let's design the eye. Let's design her pupils. And let's see this egg-shaped. How does it lead us to design a more longer ours? We take the upper lid, as this egg shape or shape suggests, just elongated and around it up and end it. If it's eyelash. Enhance the eyes. Let us do that too for the other. Just take this shape, follow it. Elongated as if it is an eyelash. Now we have a small nose. Let us say this lips add small triangular shapes as the upper lip is a thinner lips than this woman. Tender lower lip. It suggests more sophistication for this character. She's not going to have any arms as well. They're going to be static objects. So if they move, they will just jump. That's going to be enough. The thing is that when you create your world of characters, you have to be consequences. If you design these characters not to have arms or legs. You'll have to find a way for them to move, like jumping or glass sliding forward from back. The viewer will not think of this girl was like, oh well, this is our characters that don't have legs or arms. They will think they will accept the world you're introduced to them. The more believable and confidence your world is that you were introduced to your readers. If you do a children's book illustration or a movie, animated movie, they will accept that the characters in this world move this way. So let's finalize or character and how do we find the lower lid? It's going to be slightly gentler. That's how women have their makeup. This old-fashioned style. While the women in the fifties and sixties, they have a very thick black line on top and they had no makeup on the lower lid. That was the kind of fashion they use. Then we're going to try to make a lady like that as if these two ladies are kind of similar, but from different generations. They're drinking tea. It's not some kind of a rocker or punk girl right now that is drinking tea. Because we are associating certain behaviors to certain type of people. This is a prejudice, of course, and of course that girls that listen to punk music also drink tea. That's for sure. But we are working like that with archetypes in design, where we can find the best way to portray or character and what they do. And if we find an activity that enhanced or characters traits, it is, just simplifies it for or viewers. And as time changes, of course this archetypes of the archetype row changes. And when we introduce a new character, a character traits in a new role, we are breaking this archetypes one-by-one. But right now, we are going to introduce this character. Characters as ladies, lady, cop, and teapot drinking nice English tea. Why not? You can think of different ways to present your characters. You have to ask yourself who my characters are. I want you to do what do they like? Because when people like certain stuff, they have idols. They have people they admire and follow. Maybe they follow their style of living, maybe they follow they style of dressing. That's what's trends are for. Trends are adult. We have an idle and we follow their way of dressing and living. As a county designer, this will help you to find who the character of heroic character is. What kind of music do they listen? What kind of things they like to eat, what kind of parties they want to go to. Then that's what we'll suggest to you. How do they address how they do their makeup, how they look or try to look? This is important because if you are doing a book or a movie, you don't want to tell the whole character story. I mean, the character should stand alone. It should suggest who this character is through design from the way you try to portray this character. No matter if this is in animated object or if this is a true character. And here we are using this in animated objects to create a real people, actually real characters with flesh and blood who has their interest and who like certain things. So this is the cup. And because there may be set, let's design the spheres here. And the spheres is going to be this line here that will describe where the perspective is this going to be closer to this line here and you see that they're almost the same kind of shape because the perspective we are looking at them from is the same. We are not looking from the top, looking from the bottom. So the lines that pretty much the same. So if you know why you're looking at your characters from, is going to be easy to follow a consequence perspective and to make it believable. I mean, if you just wrong with a millimeter and so it's not really a big deal. We're not doing some kind of a building here. We're designing characters. The most important here is this, how they look as characters rather than if it's 5, 100% correct perspective. You don't have to think of design like doing it wrong and you have to think of it as experimenting and finding features that will make your character look real. And here it is. Two characters, a tea pot and a teacup having tea. And I hope you enjoyed this lecture. Let's discover some other ways of designing in animated characters. 7. A Family of Glasses: Hello and welcome back to this new section. Here we're going to create a family out of an animated objects using water. I've told you about, about how these objects are used and what kind of associations we have with them. So we're going to create a family of maybe glasses. And we're going to have a beer glass that will be demand figure the father. And we're going to have this line here. Very bulky, father, beer drinking farther from our beer glass. So how do we create a glass? Now, let's signifying in our composition, while the father is going to be create an NC shape, this is our beer glass. You would say, well, it cannot be while it can. What I'm going to show you here is not only how to create a character or be a glass, but how to make the character, the glass appear cartoony and have a big beer belly. And how to support these design of the glass with help lines would spheres. We've talked about already that we always will look at the character from straightforward because this is the best perspective and gives the best silhouette for our character. In this way. The upper part is going to be slightly smaller, the beer glass, and it's going to be turned towards likely in a bulk way. We want the stomach out the beer glass to be chunkier. So we are going to create another sphere here as the helpline. Even though we already have this egg shape here, as you see that, it's already helping us where this stomach is going to be. We're going to have the foot of the glass. We're going to go for another ellipse shape like about. And here we'd have kind of top, middle, and bottom. Now you're going to connect this fierce and we're going to use both these help lines and this egg-shaped sphere so that we've drawn already to help us draw the B a glass as a bulky male beer drinking character. The same time as we're going to think of a glass. How does beer glass look like? You can find some references of how a beer glass will look like path. I'm just going to use this very general carnivora, a reference of beer in class where fx is chunky sections in the middle and really chunky handle, big chunky handle. This is going to be or farther. And you see we only followed this help lines that we've designed. So as soon as you learn how to draw with the blue pencil and how to design this help lines and not to be afraid to try out. Your job will become so much easier. Now, we're on the face of the Father to be around here. So doodled out like a space kind of thing. Now and this is going to be his stomach. And we're going to design then the handle on the back of this character. So let's have the handout as another accept thing shape. And this is going to be this chunk key handle. Basically. I mean, we have this all figured out already. Now, let's design maybe a little bit of how the beer glass will look like. Also. They have this junkie shape on the top. And we're going to design that. And you see this line follows a little bit. This line, although it gets a little narrower the closer we get to the middle, because we're looking from the glass from the front. So this is going to be this chunky part of the beer glass. And then we're gonna have this kind of section go down the way. And that's going to be another chunky porch. Very roughly just designs some kind of common beer glass that you remember that's if they tell you Barry. That's what you want. Think about, they'll bring your beer in very roughly and to leave it like that. Now let's get the phase shifts in Watts. Do this beer glass have how, what kind of characteristics or drinking father have we wanted to have a father that is keratin, but you would have maybe a big nose, a big nose forward. So let's design another sphere for the nose. And you know, if you drink a lot of beer, you guys a big red nose. So even comment design a nostril here. Glass is termed a little bit three-quarters. It means that it's not face towards us, but a part of the face is hidden in the nose is really big. This other nostril will be approximately here and the bottom of the nose sticks out. We'll cover it. If this is just sticking out. Where are the eyes of his father is approximately here. And then remember what we said. If we want something to appear bigger, we'll make other parts in comparison being smaller like now we don't have really a body for this character because it's just an in animated objects. So we will have to invent how the body will look like and where their body is gonna be. You can put even this face over here. Over here, it's up to you how you want this character to be. I'm going to put some ice over a year on this father and now I'm gonna have him have this bags under his eyes. And what else can we have? Now? You just see a scribble around, but this is my thinking process and I hope you follow me here in this thinking process because that's how it goes. You just design everything at the same time. Then you're referred out a little more, a little more. And then when you have done, you just go up over the black pencil and refine it. This father is going to have big eyebrows, bushy bushy eyebrows. I'm going to get to have another chunk spheres for the eyebrows here. And he's going to have this big mustaches. I'll say, well, this mustaches or a garden to be around this area. We have now just drawn sphere of sense with my character out of that. What are the different, The most routers, if this is the middle line of the character because this is the spine and this is the middle line, approximately here. It's symmetrical with a spine. Now I've moved to the face a little bit to this side because this could have been the center of our image, but I've moved it a little bit because I felt it's going to be more interesting if we see the surround shape and the bulkiness will look better if we have the stomach being over here and he's like showing off in this way so the silhouette gets better and you can do that. There are no rules of where you should put the face. You can always put it wherever you want it. But you have to keep the lines loose and you have to try it out before you actually find your character. So I'm going to design one mustache here and another one here. I remember if I have the middle line here that separates the face and two symmetrical parts from that point on, you can easily can find the symmetry. This part of the face will be slightly smaller because there is a perspective change going this way. This chunk of most thou shall be slightly smaller than this one and just shake it out as an egg shape. Now when we have that, we can end up there mustache here with a slight triangle and connected to this line of the sphere or egg shape ellipse. And the same one here and this mustache, it will stick out a little bit and maybe we'll have now he knows that when you have mustaches, you can see a part of the lip underneath those dashes over here. Now let's design the eye to give some life to this character. And you'll remember for cartoony characters, even though a character is a grown-up, just drawing around the eyes and giving them a little bit of a crossed, I'll look, give them this cartoony child is like, look, that challenge that children would like though to recognize themselves even in bulky junkie beer glass, because they look like they're, they look like kids. Now it's easy to shave the features. Now follow this fear and draw the nostril. And now we have, you'll see that this fear is designing the nose is just given, whereas this sphere is behind here. But what do we see? We see part of the nostril. So just draw out this part of the nostril. Let's shave their mustaches. And they're just given because we have just our homework before doubts. And now we can have some element here, make a chunk of hair for demo stashes so they become more alive. They become more cartoony. Now you are allowed to give texture and graphic elements to your character, like this chunk of hair to symbolize that this is a really thick hair. And maybe we can have the mouth open. Shade it a little bit further later on to help yourself see that his mouth is open and this is lip. And all we did was everything prepared at just what fears. And let's get this handle some volume. So it's going to be a thick handle. Just repeat this line that is over here. Repeated a little bit now or next to the glass body and it disappears behind. It's going to be on the other way around and it's going to be behind. And again, this character will not have hands. 8. A Dad from a Beer glass: We have our father character. Let's start polishing it. Where the black pencil now is just party time. No, it's just gains. Because it's easy. You don't have to wonder where things are, things Sarah, given to you. I'm repeating it over and over because that is so important. I've seen that even from my previous lectures, some of my students, I'm very proud of my students because you guys are amazing staffer. It's so encouraging to see how you progress. But some of yours still just afraid of doing this blue lines and afraid that you're going to mess up. That's why I want you to see and to know that each character, no matter where you draw these blue lines, these fears, if you'll learn to do them ever doubt fear. They'll help you get your designer ready before you even start doing it. You can explore things like doubts, you can test it out. Don't be scared to do out. Well now this bushy eyes, I can do some chunks of hair, the same thing that they did here. And I didn't even have to have done download the BlueLine because now I can explore the shapes they're given to me and I can just add these features and I'll shade in black. It's black bushy eyes. I go from one detail to the other. Because processing is enjoyable. You should jump out from one detail to the other because if you get stuck, only one detail, you might lose the sense of proportion and most to the character. So just leave one detail, go do something here and do something there, and just go back to more final details. Because our brain works this way that you get stuck. If you just start polishing one thing, your brain just follow, zooms in here it's like a photographic lens starts enlarging things. This is also typical if you start doing it from maybe starting designing character from the eyes and then you just keep on adding details here and you forget about the whole I start getting bigger and bigger and you finally find out that you don't have any place to put the body and say, well, how does this happen? You know, I thought I was in control. Now these bags under the eyes, you see how the father gets chunk here. It gets mainly or you know what I mean? Like we recognize these kind of guys that drink beer, have mustaches and goofy kind of guys. Comfortable, nice, goofy fathers that are drinking beer and watching. Maybe I don't know, football. This is this archetype thing. Dots I'm talking about. It's just so easy to design characters when you know, when you try to have an archetype in the back of your mind. And the thing is that if you have that for your book or something, you can break this archetypes by giving a certain look of your character and then surprising the viewer where to having the character do something completely different than what his or her archetype will suggest like, for example, having this father not watching films, actually loved watching fashion shows. You wouldn't think that the father will drink beer and watch fashion shows on TV. And thus will alert to your viewers like wait a minute, who is the scale that's interesting, and why is he acting this way? You give more depth to your character by breaking this rose. Now we adjust shaping the real new message object basically because we can forget that this is not just the character, this is also a beer glass. That's what's so fun to make in animated objects as characters because they're so simple. You don't have to think about anatomy. For human body. You just have to design a cup. And you see now that we did this bulky cup like dot, I mean, you'd come to see the real cup, the real glass. I mean, you can't see the real beer glass like that, but we designed it like that. Now it looks like he is a chunky guy. Now, let's have some phone B or form popping up. You can do it with blue pencil again, just to rough it out like small chunks of spheres like that. Because it's going to beat us as symbolic phone. We're not going to draw photorealistic formula. We draw every single bubble popping out. We're going to look for this shape over here, this sphere, this sphere, and maybe this via just a bunch of spheres like that. And if you see the Hall of it, it will look like a beer foam, like a collective amount of bubbles and not just one bubble at the time. There was a time when I was a beginner. I didn't know which detail I would choose to bring forward. What kind of foam and how, what my character look better. You know how many details I had to do for something to stick out as a beer foam for example. This is something that's this can, this lecture can be helpful. Whereas the balance, what do I need to do to produce to look girth? So you don't have to do the whole beer foam. This one is enough and just add some shading at the bottom. So to signify that this glass is standing on the ground. This beer foam actually look like the father's hair. This is also an element that can contribute to your design. Will shade the most stars black mark if you're working on a program or in a digital program or shading or your coloring it later on. You can do that and just fill it upwards, darker color and brown or black. And it's going to add some contrast to the beer glass. Maybe you can have some beer here, but because now we having black and white drawing, it's going to be just messy sun going to leave that out. But if you color it, maybe you add a half of the glass, like a beer glass and it's transparent. Here we have our male character. Now, let's design the mom and what kind of glass is she going to be? Let's do that in the next lecture. 9. A Mom from a Water glass: Let's design the female character here. And we can have her be a wine glass if this is a team, like a beer Dad than the Hawaiian mom. This is one way of doing it, but I'm going to do a water, a water glass. This is a graph that I'm having here at home and ikea water glass. So I'm going to just design the curvature of the spine. There. She's little bit more band and Chu to stand next to him. So she'll be approximately here. Just signify that with a line. And now I'm going to do two spheres on top of each other because this water glass is split into it has like a lower part has like our upper part kind of like a time glass body, like female body with a waist. That's why I'm choosing this class. There is some kind of curvature in the middle. I can even show the glass I meant, but of course I felt it was chunkier here because I'm doing it from my imagination. I'm going to maybe have this part of the glass being around here and just have another chunk. Like so it's like the female body has some kind of waste. It's gonna look even better. Now let's design the alpha part. An egg shape, or with an ellipse. And let's just make it clear this sphere here that it ends up here. And this one starts here and ends up here. So just let's make another helpline. We are seeing already the bodies of what I wanted to see. It's like to have more helpful with this lines and try out different positions. Make sure I pick up the best one. I'm going to make a really, really bands character here. She's, she's not standing straight, so to say. But that will enhance the liveliness of my character. I'm going to round it up here having a little smaller. This is the mom. Maybe I'll have her top be a little smaller and she's not bent upwards, she's not so bulky like this guy. So maybe we'll see a part of this class is tough over here. More of a tender kind of figure. And now we're just following these shapes with even against sketchy lines. And she's maybe looking at her husband. So I'm going to use this line to turn her face towards him and you see them here. I can actually signify a clear head like that and a body like that. So if it's an animation or even if it's a drawing, I can turn the head slightly differently than the body, because here it's going to be hard to do that because it's one chunk. That's how you can play even what shape would do. Designing. I had an, a part of the body for a real characters. They're not really rules. There's just like perception and you find the best way to design your character. Now I'm going to have the mom having this longer eyes, more tender, gentle eyes. She's going to have a little nose. Maybe I'm going to give her some kind of off chunk of hair on this this glass. Why not? And here I'm going to draw her lips. Again. Let's do just one curvy line for her smile. Sphere or an egg shape form for her lips. And let's have her, as we said, Look at him and she's looking at him lovingly. So let us design the pupils. And let's have her eyes slanted, slightly closed, gentle and closed like she is. Maybe she's not agreeing with him, but she's smarter searches. Looking with him with some kind of sarcasm and love. Maybe we'll have the eyebrows enhancing these facial expression is slow. Come on darling. You know, this is not quite true. So this is an expression with one eyebrow is lower down and the other one is higher up. And you see that we are using this area to design the face. Here we can follow even this curvature, this curvature line to design a nice profile. And the ending of the sphere here of the ellipse to design even the other eyebrow and give us a nice silhouette, nice curvature, which makes her character look appealing. Clear, people will understand who these characters are. Dels sympathize with them. Even though it's just a water glass. And asked enhance clips. And this is just technical work because we have or mouth already there. And maybe we'll have her lips have slight corners like dots out of the mouth. And let's have the chunk of hair follow even lower down. Again. This is the curvature will drawn from the beginning. You see how helpful that is. And maybe we'll give her another chunk of hair like that here. Maybe it's like a hair all over, like for all the glass or even behind the head. Why not? It comes from here. This is a character will design and we can experiment. What can we add to them? So this is the female character. Now, let's find her. We have this class, this ellipse here and squint and see which lines fit better. Which lines suggest to you that this is the shape you're looking for. You don't have to color it. You don't have to trace it with just one line here. Just do a couple of lines as well to find the right line. If you have to draw it for the book or a character. This first maybe scanner to do it in a PC or in a program and redraw it and you can find the right line. Eventually. The more you continue with the process. And now you see that this glass is kind of more gentle. It has this sand clock shape. And it's more like a female figure, female character. Yes, of course, you could have used even wine glass for death as a team. Now, there are a beer glass and a water glass. Mommy's wise, she's not drinking alcohol, she's drinking water and keep her wits in place. She's contained, she's responsible while while the dad is like, I love my beer and he loves his beer. And that's why he brought his characteristics to design this character. What would he be if he didn't like B or if he was spotty guy, it was like training. Maybe he wouldn't be a beer glass or maybe we could make this part of the body, the upper part bigger so we could enlarge this part and this one would be smaller. Took play with the features that are the archetype for the sporty guy. So you have to combine features of the human character you are trying to portray the features of the animated object that you have at hand and see like what kind of features you can enhance in this object. To be able to portray this kind of archetype or character you're trying to, to bring out in this character. It's a combination. And it is so much fun because you can do anything you want without nothing is stopping. You don't have to have the limits of a real character, of a real theme, a female or male body. To stop You Without. You can do whatever you want. Yeah, I hope you are enjoying this lecture. Now. I'm also leaving some white dots like that you see because this is something that you do on your design when you draw eyes on and character, this white dots makes a character will look more alive because it's signifiers as if it light hits the eyes and leaves this shininess on the real eyes and it gives, with so little thing, it gives just more life to your character. Now let's have the mom's hair darker. And maybe she has this hair coats. It continues on the back of the glass. Why notes? Here are two characters and maybe she has, the glass is transparent, social has some water like that. So this ellipse here that would signify the water, it will be almost the same one. This one slightly narrower because the mom is not bulging out like that. So her center or be around here and she's more like a normal perspective than this guy with this guy alike bent the other direction than what his face is, what we see from him. So we have this water, maybe we have some bubbles, seats, maybe sparkling water. It says here, every time she moves, guess this bubble. So it's like tender and you can add this in the animation if you meant gets like, every time she moves, she's like make these sounds, sound effects like sparkling water. Don't form. Just trying to act out the character here, which you also can do. It will give you more knowledge of who this character is and whatever you're trying to design these character for it. So we'll have some shading to put her in perspective and put her in the room with this guy. And they have the same kind of perspective here. So we'll add some shading and make sure she's spending formally on the ground. Here we have the mom and dad family. Now, let's be designed the kid and see what we can work with there. I'll see you in the next lecture. 10. A Child from a Tequila glass: Welcome back. And now it's time to design the kid. What kind of glass we are going to choose here because we established it's a family of glass has maybe we'll have some kind of a small killer. The kilo glass is going to be little insights. So we're looking for something that is little in size. We cannot relate to the size as something younger or smaller in size than these two guys. So it's not like the kid is drinking tea kilo over time. We will unassociated with doubt, right? But we're trying to bring some kind of similarities. The design and not the type of an animated objects we're doing. And it's something they have to gather this guy. So beer and water, what do you get? You get tequila, right? So let's design this kid here. The kid is going to be turned towards the parents. What is characteristic of kids? It's playful, it's small, it's fun. It's has big eyes. So when you have something to have big eyes, it makes a body look even smaller. Let's have this particular graph here. So what do we do first? We find what a spine is, what is it looking this way? We find the position is, and approximately how big the sizes of this character. Also, when you do composition, It's always important to do that in the beginning to find the relationship between the characters. Because if you start drawing, sometimes you draw one character you started from the eyes. You have planned this out. You had said, I'll draw one that bear gloves one mom, water glass wanted to kill a gloss as a kid. But it will start from the eyes. And you start and you just do though, your way up and you end up having the dads over here. We're having the mom over here. I use like, you don't really have a composition. Composition is the relation between all the characters in this paper space. They need to be spaced out properly. Your composition when, when someone is looking at it, they are in the middle of the picture. They are in good relation to each other and you can notice their size and compared to each other and says like this glass is this big and this one is this peak and this statistic. When we have the family, this is also the work in relation to one another. They stand in relation to one another. So we'll have that a kilo glass and it's actually simple triangular glass. So let's have this ellipse. And as you notice, the open and less of this ellipse here is approximately the same as this one and this one. So it's good to design everything from this perspective. You don't have to wonder a lot. Now will have this glass be more playful. He will follow this sphere here and design the head, tilt backwards. The kid is playful and we'll twist ending of this glass. It looks as the glass is really around rather than straight. But that's what you did with those glasses. There were not that rounded. And see how easy it is to design characters. You've put some curvature at them and they become more alive, more lively, and the kids will be also turned with his heads upwards. This is also how we can signify how the character behave like play with his line and see bend forward or bent backwards like this woman, she's, she's bent forward so we can see this part of the glass here, but this one will be bent backwards, so the upper part of the glass will be looking the other way. Let's decide the face. Same thing here. Add a sphere inside this. Here is going to be my kid's face. And now let's design the eyes. And we said is if a, a kid has bigger eyes, bigger, larger phase, then the grown-ups have designed the bigger eyes here. He's going to look at his mom, have this connection here, the monthly thing as the data that is looking at the kid and the kid is looking at his mom because eventually, no matter what the kid wants, the mom decides he is smiling. So let's make this big mouth here. What else the kids have? They have chicks and glasses, don't have cheeks. So how would that go with the design? Let's play without not gonna make big cheeks like that. Which is also possible, I mean on top of the glass, but we are going to make smaller cheeks. Next two DIs. To kill a glass. We're going to add one curvature or one curve here and another one here. So the kid is going to be smiling and one nose here. So another sphere and small eyebrows here is basically done. We're going to add another curvature underneath the upper curve here above the mouth. As if these are the teeth of the kids and maybe even some small teeth on the lower part of the kth is smiling a lot. He's going to get what it wants. That's for sure. Let's shape whatever we have more before we go with a black pencil and kill a glove doesn't have any handles, so we can deal with doubt it. And let's shake out or Ticulate glass with a black pencil. Okay, so what do we have? We have big eyes. Again, I'm leaving the white area that gives some kind of glossiness of the eye and makes the lot D, I really more vivid, more alive. I shaved the eyes which are much bigger. And you see immediately how we get this kid's kid like Look. And the other one, again, I'm kind of like brushing on top of the blue lines with the black pencil. I'm still discovering this character. I'm not completely sure. I'm just letting my intuition, gut feeling lead me to where do real design is. So these can change also. The discovery process is throughout your first sketches. You can change that later on if you are doing a book or a movie with these characters, you can do just a couple of designs. And then when you do a couple of designs, you can pick up design. We can pick up one design and do a couple of drafts with this design. Change the proportions of, for example, this water glass, I mean, have it the way you saw it. I real glass was maybe she's like she has her waist lower down and he has this class or this middle part here, like over here. Try out different features. This is not set in stone until it's done. Until you run out of time where you have a deadline or you kind of say, well, this is my character has, sometimes you'll see it right away. You say, well, this is my character. Depending on what do you want to do? What do you want to design? Do you own? Do you want a beer drinking dad onto you almost sporty that. What kind of features you want to find there? What kind of features are spotty guy has? It doesn't have a beer stomach, it has upper chest up are bulky and muscle are different thing there. And maybe you have a champagne glass as the mom. She's fancy shall like spotty, she likes drinking champagne. Find different different features and talk to you. Maybe in your minds or if you were, if you were alone, maybe if you're not alone, I mean, artists are little crazy. So people that know you and they know who you are. An artist probably already know that. So talk to your outlawed and describe what kind of character you are designing. A kids. Is it a boy or girl? What kind of features this kid is gonna have? What are they? Happy kid said kids are in-order tree, then it's an order to these kids might be a gonna have large eyeglasses. Maybe it's not gonna laugh like that. Somebody is gonna have for freckles. That's another thing that is associated with archetypes. We, when we see films, we see kids that are very smart has this large eyeglasses and they have freckles. Obviously, because according to the archetype, the prejudice, kids that are smart and sit along time in front of the computer and don't see a lot of sun. When they come out in the sun, they easily get frequency. That's basically, I guess the theory behind this kind of archetype and description of a nerdy kids and you kind of trust on this kind of kids that will solve all the problems. So if we want or two kilo glass to be nerdy kid, it might be, we'll add some freckles here. Will have big eyeglasses like that. Yeah, Let's do that to see what will happen. Now that we've talked about it. Design. Nerdy kid, we've now had a normal kid and now we're going to have a nerdy, smart kids that knows a lot studies allot. We will associate with nerd or bathroom resell someone that knows a lot of stuff. So you just add some eyeglasses on top of that and you get kind of a completely new type. Our kids than what you had before. With eyeglasses and tequila. Applause with eyeglasses? Yes. That's how you do it. You can combine different features or different designs. Now you can just add some shading. Just you integrate this character within the same world as his parents and add to the perspective and the lighting. So having the shading this way signifies that there is a lighting coming from this side and the object, the objects casts shadow on the spot this side of them. And these are the three characters, the family out of in animated object. And you see that you've done, see them just as in animated object as a couple of glasses. You see them as characters and each of these characters have their own personality. You can describe with words, you can say what the Father does, the mother and the kid. I hope you enjoyed this lecture and you followed me and now let's continue with the next chapter. I'll see you there. 11. Drawing Expressions - Candle Design: Welcome back. In this lecture, I'm going to show you how to put emotions to your characters. And I'm going to use just one character so you can see the difference in each motion and how you can convey this in animators object. For this purpose, I'm going to design a candle holder with a candle. I'm going to start with finding DR. quarter spine of this character. And I'm going to make one large example here of the same character. And then I'm going to play around with different emotions on this part. The other paper, candle holder will be approximately this big. I'm just going to signify it with just lines, just a shape here. And from this part on, this is going to be the body or the candle. It's going to be like two-part thing. And this part is going to be something like the character's body or lower part of the body. And I'm going to design a very simple candle holder. Top. And then here I'm going to design the bottom of the candle holder, another ellipse because we are looking at the characters almost at the same angle. All the ellipses you draw, it's going to be approximately the same width or thickness. This is wider candle holder world spending like that. And I'm going to just adjust this line because now this is going to meet the middle of my candle holder. And here I'm going to find out if I want to have some ornaments, I'm just going to connect this part of the candle holder. Will the lower part of the candle holder with a curve. These two is creating more life to the candle holder is a little bit and symmetrical. It's as if it has address or something or something behind him. I'm going to make a male character here because I didn't know delta how it felt like that. Now maybe I can have little or no comment here in the middle. Like a sphere. Just to make this a little bit more interesting. Here we have a thicker part of the holder on this side. So these are going to be like lines. So I'm just going to signify that. Here we're going to have the candle and the candle has also a little bit of perspective. I'm going to exaggerate it. Just draw two curvy lines on each side of this spine or middle line, the one that signifies the spine of our character. Here we're going to have the lights of just the light make another ellipse again with a loose hands. And now that you have the ellipse, you can actually shape it. It's triangular on top and a little bit thicker in the middle. And when you have this handles, this sphere here, it's easier to just connect this shape and this shape with a triangular shape. Here we have already just a candle and you can readjusted the way you want it. And now let's have the character shaped out. So we'll have this middle part here, like something like a sphere or a white car ornaments. 40 scandal. And we're going to have the face over here. The face of this candle is going to be looking and this side. So even though we have the middle line here as the spine of the character, we're going to have the face approximately here. So it's going to be turned a little bit on this side. And you see how quickly you can change whatever direction you want the head to turn. And then I'm going to make a middle line that goes parallelly with this line, but it also cuts this fear into, I know where the eyes are of this character. I'm going to make a male characters say like a young guy, young guy full of life, because his posture also signify that he's young and full of life and I'm going to make a long nose. I'm going to make a nose with an ellipse and give him some eyebrows. I'm going to make the mouth over here. I'm going to make another sphere. And I'm going to make him smiling. So this line that signifies the middle of the lip is going to be on the upper side of this sphere here on the ellipse. I'm going to maintain the upper lip over here and the lower lip as if he's smiling. But I'm not gonna make any lips here because I want the character to be even more cartoony. Let's put the pupils so we get the character of our characters and see who the character is. And he's going to look in this direction. Let's shaped some TIF so we don't have this mouth look like a really, really big lower lip. So just make a curvature to signify where the lips are and where the teeth are. And now with a very few brushstrokes, we see that this is a character who is smiling. Give him some cheeks against small spheres here. And the other one is on the other side, so we don't see it. The characters, eyebrows. This is basically it. So now let's refine it with or black pencil. And the character is already given. You have to only refine it at details. Here. Do you want to have a straight line like that or do you want to have maybe some bulges? I would suggest for now, keep keep the lines strike because this is going to make your process easier later on when you are designing the other shapes, the fewer shapes you have to worry about later on, the better it is, the more you can focus on the character. And when you grasp this process, then you can add even more elements like lines like that, maybe chunk of wax falling down over here. But for now, just live it out and add it later on when you have your character figured out in different poses. The eyebrows here to make him look happy. And I'm not going to draw all the junk of cheek here. I'm just going to mark D upper part of the cheek dot-dot is pushing the lower eyelid up. So it makes the character look like a cheek and the one that is closer to the mouth, the corner of the mouth, which the mouth actually puts it pushes up. So this is something we want to care about. The rest is not important. Sphere was not there to make a spherical chick. It's there to help us find the CIC, the real cheek. As you've already noticed, how easy it is to actually have those help lines with spheres and how these help you to actually find the real character without any effort at all, as if you've been able to draw your whole life. Isn't this amazing? I mean, you've been thinking that you couldn't draw, and now you're having these lessons and you've been shown doubt. You can just draw with this spheres, with these lines and spheres and find the shape. That all, that's all you need to be able to find. Your characters. And you suddenly discover wasn't that easy? Well, yes, it is that easy is just very structured to everything. You can start to build a house without having the structure, without first having the drawings of how the house will look like. And you can start building a house without having the basis of the house itself, building the skeleton. You can just go in and put the windows. When you don't have a house to put the windows on. This is what I would explain how I want to compare. Starting drawing just the eyes and starting from the eyes up and down without having the skeleton of your character to worry about. And that's why you fail. I mean, everyone who wants to build the house and just as the windows before the house is built will fail to build the house. This sounds ridiculous because it makes no sense while anyone would do that. It's obvious, but of course, if you have a sheet of paper, you're thinking that you can put the eyes there and you can have your character just fall on the paper by itself. One, it's not that every artist has to go from this process. Here we have our main character. Now, let's put some emotions to him. 12. Happy Candle: Let's take this character and give him some emotions. Before we draw the whole character, Let's work with the emotions with just the curves. How would you describe yourself if you're standing? When you are happy, How are you standing? Your spine is upwards. You're kind of like your chest are open. You're feeling like overwhelms or you're open to everything good in the world. So if you were describing happy with just a curve, that will be, if your face is in this direction, the curve will be like that. It's going to be, if you're looking in this direction, it will be open up. You'll be exiled, exaggerated open. Now, how would you describe when you said you live forward to your shrink? You try to disappear. So you'll kind of be if you phase is over here, you try to lean forward. Bend your band over, your spine will look like a crook. Another pulse we can have is being relaxed. How are you being relaxed? Well, being relaxed is some kind of the face is looking now in this direction. It's kind of a more of a curvature like that. Your your body is going into directions. So kind of maybe like a spine like that. These are like three extremes. The poster and the mood to each character or two stars actually from the spine, from the spine out. Before we even put any motions to her face or body language shows us if we're sad or happy. If you start with delta spine of your character, you will already give the, the character these emotions. So let's start by drafting all these shapes for our character on this emotional curves. We started with a happy line. And here we'll have two somewhat follow the proportions. How big is the lower body compared to the upper body of the character? So it's kind of like in the middle. It will try to match it proportionally. So we have a sphere or ellipse here, and we have a body here. We have the light here. This is the happy pulse, and we're trying to draw these shapes along this curve. What about this one? While if we have the body here, so following the same principle, the body here and here it's going to be upper part of the candle growing to the flame is going to be here approximately. This one is the lower part of the body will be like here, and the upper part of the body will be in the opposite direction and the flame will be here. You'll see that it doesn't matter how big the characters is, they're not equally big. All these three poses because I'm trying to use the space of this paper. But the proportions on each character, on each posts are the same as the proportions of the main character. This is also what you can use these spheres for. The quick spheres that you can use to help you draw your character sound. Now let's work with the shapes. So let's find we have one shape here. One shape where the character is standing. And now we have this, this kind of shape, curvy line that connects the whole shape of the holder. Now, we're still having to design these holders, so we're going to use the shapes that it has. But we're going to give more space for this part here. And we can treat hard object in animated object as if a clay objects in order to give them more life, in order to convey emotions to our viewers. And in this one we want to have the emotion of the character being proud. So it's going, it opens up his chest. It's leaning backwards so his face is over here. The light is going here. So we're just going to make again these little triangular thing shape. And then we have the light like that. Now let's put this, this base here of the candle holder and shape this pose up. We have some cleaner area around here before the ornaments, the round ornament. And it continues this way. And now, not only do we have to have the posts, the happy pulse, we have to match it with a facial expression. So what we'll do is just have the face looking up a little more and have the eyes even more squinted. So we'll just gonna draw eyelids like that. We're gonna have the nose pointing up. So the sphere of adjust, the ellipse will just point up. And now let's have even bigger smile than what we already have. It's a happy, happy candle. And the teeth, and the lower teeth and the eyebrows. Here we have the heavy candle and the eyes here. Let's curve the eyes a little more like a laugh. Here we have a small detail, so I encourage you to have a larger paper. Let's go ahead and draw it with, with a black pencil and discover or pose for this happy character here. Even wider mouth. You see how just wed working with the curves. We can describe how the character is feeling. Even though we have just a candle holder. We're starting to get to know this character already just by drawing it here a couple of times and trying to find out what the character is feeling and who this character is and drove the eyebrows. Now we'll have the pupil basically almost invisible because it's almost squinting. His eyes in laughter, in a smile is a very, very happy candle. With a candle holder. We have the cheeks here. The farther away you are from one drawing, the less details you can answer your character. So that's why I'm saying that it is important to have large block of paper unless you don't drone on computer, then you can just zoom in. But I'm doing this by hand, old-fashion way because there is a different feeling to, when you draw on paper. You are free to draw on paper in the digital program, you, you're not quite not yet comfortable to maybe lean a pencil like that or have the brush strokes like that. You have to be careful not to touch the screen if you're using an iPad. This limits you in a way because this brush stroke, this hand movement is very essential for you to get free. To set yourself free and actually being able to make this mistake. Also, the digital program, there is the undo button. I know it is comfortable button, but we are working here without an eraser. And y's dots is because we want to make all those mistakes. We want to get used to, to scribble around, to make these shapes. I'm perfect, imperfect before we learn who this character is and we don't need eraser right now. Maybe you've noticed that I haven't had an eraser here. Oh, this is for this purpose, it's going to be easier for you to learn how to draw. Without an eraser. Something I'm going to do for this character actually. Growing. I'm going to add arms. I haven't added arms here, but I can do it now because I want to show you one more way of just posing your character. Here. He is going to be like wonderings, I'm going to use a stick figure like that and an arm willful just freely here. I'm, I need to consider his anatomy. So he has an anatomy of an object here. So if I put the arms, they'll have to consider that he can't put his arms down and go for this surface. I'm going to make a stick figure like that and have his fingers be free. And here we are going to have this pulse of explaining to someone. Let's draw it with a black pencil. You can have different arms, of course, but it is nice to have just a shape of an arm would stick figure like that. Then you can make this thicker. You can add more flesh to these bones. But we have our character very gentle, very tiny, and justice is enough. So what kind of arms I'm going to add this character. Look how easy it is. Just to add this exaggerated expression of an arms. Just opening up. Just opening up for the job. It's a happy character. Does how we behave. When we are happy, we open up or a body. And now this stick figure C and just make some lines here and he used signify an arm and just the shade for the palm. And you have your character. And then you can shape it up a little better. But the emotion is there, the character is there, the joy is there. You have your character done a happy candle. Now you're going to go for the SAT POS. See how we can go about that. 13. Sad Candle: Welcome back. Now let's go for the sad posts. And here we can start the same way, designing their lower body and where the character is standing. But now we're going to change the direction of the curve. And even we'll make this part, this part of the body longer as if he's leaning in this direction to enhance the set pulse. So this part now is the one that we've had here opened up and here opened up is going to be smaller. This one is going to get more space. In this assymetry. We are making the character a little bit. I'll symmetrical as if this is a real candle is going to fall down because it has this kind of proportions that are symmetrical. But if, when we design characters, we want to use everything we can to make the arc help or posts. Now we have this curve here being shorter and this one here. We're trying to follow even this curvature here to create more emotions, but we can't escape from completely from the body, the body structure. In animated object. We're just doing our best. And what else? Now, this is the line kind of following and this is where the middle is getting. Now after we've drawn the lower part of the body. Now let's try to follow this line and bring the character down a little more. Just push it a little more with a blue line. Now we can see a little bit on from the top of the candle. Here is going to be a little wider. We can see more of this upper part, an ellipse a little wider. And do we want to have the flame being just down? It's going to be unnatural. So let's push the candle down by the flames still going upwards. So it's like a chunk of hair. So the flame is following the body. But this little triangular shape is just pushing it upwards as if there is a fire, a real fire and we can add some smoke maybe when you're upset, you're also smoking from your head. Now, let's define the proportions. Adjust whatever we think we've done wrong. And this is maybe it does why I did this line here. I want to push the body a little bit upwards because I see that it's a millimetres really. But when you're, I get used to the proportion. You'll see this thing for now on Utah's do you best and explore the process of training your eye. Now will have his hands down, right? Of this one, they're going to just drop down to the ground. Phase is going to be here. Or it said, said Kendall. And now we're going to have the eyebrows turned in this direction. You see that if the phase system here you can add another middle line that goes through this sphere. Know where to put the ice. Let's put the eyes here in-between on each side of this middle line. And now the nose is down here. You can maybe already see the shape. And the mouth is not a happy mouth anymore. So the curve of the sad mouth is pointing downwards and the mouth maybe it's open and we'll have another curve going downwards. And we'll see a part of the chief like that. Locks are falling on top of the ice in said pose. And let's have the pupil half hidden from the sadness of oral little candle. And now we have basically the main poster just by following this curve and just read, let's define it. Follow the blue lines, adjust. If you have two, whatever you have to know about the mass. The most important thing for you is to practice, practice, practice these things, these proportions. And the way you need to decide how to change, how to shape the curve and where to put this help lines the spheres. This comes. We're bravery and practice. Because you've felt that usually just draw clean drawings by until now. And now, I'm just telling you exactly the opposite. It's gonna take some time for you to get used to decide DEA and you try to put as little help lines as possible. That's normal. I was there. Every beginner is there you try to keep your drawings clean. I remember my teacher. We had to draw like 50 drawings a day of people sitting in a railway stations or Just coffee shops just to get used to find the proportions, really, that was the whole purpose of the exercise. But we were so afraid that the people who didn't look like they were supposed to look. So we tried to make them look nice. And my teacher was telling me the same thing that I'm telling you. You can't really put eyes and mouth to a person that doesn't have the right proportions. And to find the right proportions, you need to train your eye to see these things. So you need a lot of practice. Some you see how I just added the hands, the hands, and the fingers as if this is the ground that's laying on the ground. So they're basically floppy and reached the ground all the way down and they are straight lines because when you are said your arms are really heavy, you have no power. And if you put the arms like dots, like heavy chunks of, I didn't know sausages. You meant the character look sad. You contribute with each element of the body. Sadness of this character and the culture that you want to convey. Shape, even the eyes, the sad eyes. And the other one. Again, you have to pause your character in the way that you can best convey the idea of this pose. That's why I've turned a character in three-quarters in almost every post to see the silhouette. You don't want to have this character looking from straightforward because you're not going to see this curve of sadness, this curve of dropping down of the whole body of the character. You will, you will lose that perception. You won't be able to see how the arms fall down to the ground and how heavy this pulse contributes to the character this and presenting these emotion in the best possible light. As, as an artist, this is your responsibility to make it as clear as possible for your viewers what your character is feeling and to convey the best, in the best way they emotions that you want to convey and to reach them. So this is basically all said false. And let's add some shading to just add a little bit more volume. The character, and integrated within this world. And with that, we've finished the set bounds of our candle. Let's continue with the next pulse. In the next lecture. 14. Relaxed Candle: Here we are again with oral loved pulse for a candle is this casual pulse. You know what to do. And we find this shape here. We'll find the lower shape here. And now we twist this shape according to the scarf and follow those grid of casual. Casual policy has turned in a casual pulse yourself, you will notice that maybe you're standing on the, on one leg inulin all your body weight on one leg and you have the other one kind of loose. That's what we're trying to convey here. So we'll have this part of the body as kind of the other leg and this one part of the body of the leg that is holding the weight of the candle as if it was a person. And now we can add the candle in this relaxed pose. And let's, we will follow this curve here. Just draw another curvy line. On the sides of this curve. Find the top of the candle like dots. And the character is already shaping up as if this is the hips of the character and the leg is standing here. You see how pretty quickly we're getting this relax post now let's have the candle here. Just bought barn upwards. So I'm going to change the direction of the scandal in this way. And he's going to complete this curve, this nice curve here. I can do that because I'm drawing with a blue pencil again. Now, let's have the face being somewhere here. Let's add the arms. Now. This arm will lean approximately here. So one line here, one line here, and our hands on the hips. And we'll just see the stick figure, hand leaning on the characters hips. This one is just in the relaxed balls alongside his body and just shade it and have the thumb here. Now, you have to see what the time is turned. So when you when the arm is turned in this direction, time is on this side. Other fingers are here. Just do it as a shape. You will add the details later. All you need to do is just this poster kind of thing. And now we have our character. Casual will have his face over here, find the middle line of this sphere approximately here. And we'll have one eyebrow down. And another one up. Is unsymmetric as if he's just casual. Also, draw one line across all are both eyes and find the pupils slightly looking towards us in a kind of casual way. And we have the nose of the character and we have a cheeky smile. And the cheeky smile will be just m proportional. He will smile just with one side of his mouth. You know how, when you cheeky, You just smile with half of your mouth and saying, Well, what are you talking about? I'm comfortable and I am just relaxed. Now let's go with the black pencil and see what we've got. Here. You know the process, you just follow the blue lines and the eyes with a black pencil. And the other eyebrow. That's the thing you will get better and better each time you drawing, draw this character, those poses a couple of times and you will see what difference it makes just to, just to have done that, just to have drawn a couple of times the same, the same exercise, the same pulse. You will be just so much better. And here is the cheek and the other part of the mouth goes somewhere behind. Very cheeky smile. Here is easy. Easy. We have our posts there. That's the thing. How do you discover this emotions? Well, observe yourself or you observe others? How do you stand? How do you stand? If you are relaxed? This pulse, just photograph yourself in them in a relaxed pose or look in the mirror. Just observe yourself in the mirror. How do you stand and try to push, for example, this shape in the way you spending. Because it's allowed to draw these characters a little bit like a clay figure. You can have some proportions not being the same way as they are here. That's how you find out how the poses, and that's how you make a pose out of our object that has no body. Initially, is just an animated objects. Now, we can just add the fingers. Just likes to stick figure. I told you that you need to do is being able to draw a stick figure to draw this. This in animated objects orange to draw character. Because when you, when you have a stick figure, as the basis of your drawing, you can easily find the shape. This has to do with bravery really, it has nothing to do with YOU CAN new born to draw. No, no. He's just a willingness and bravery to discover insights drawing process. Now, here is our relaxed, cheeky pose of this candle, candle holder. Like that. It's integrated. And that's how you gave you. I hope you enjoyed these lectures and you're having fun drawing more.