Draw Characters 109 Lineart, Finishing and Inking | Scott Harris | Skillshare
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Draw Characters 109 Lineart, Finishing and Inking

teacher avatar Scott Harris, Painter and Illustrator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Draw Characters 109 New 1080p

      0:40

    • 2.

      Creating Clean Lines and Line Art for Finishing Drawings

      17:10

    • 3.

      Creating Rough Clean Lines and Line Art fo Finishing Drawings

      3:00

    • 4.

      Character Composition When Drawing Characters

      6:23

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About This Class

Welcome to Draw Characters 109 Lineart, Finishing and Inking- the ninth of a 10 part character drawing course that will teach you all you need to know to draw characters well.

Hey, this is Scott! Let me tell you why this is the best character drawing course ever made, and how I'll be able to help you reach your art dreams and goals, whether you're just starting out, or you know a bunch already.

What exactly is Draw Characters?

Draw Characters is a character drawing course where you learn how to draw professional characters in any style for books, games, animation, manga, comics and more. This is a 10 part Drawing Course that will be the only course you really need to learn all the core fundamentals, and advanced techniques to drawing and sketching characters well.

If you’re an absolute beginner or you’re already at an intermediate level, the course will advance your current drawing ability to a professional level. The course is a 10-part guided video course, where the only limit to your progression is your determination and engagement in the rewarding assignments.

Whether you want to draw characters, design characters, create concept art characters for films and games, illustrations, comics, manga, Disney style or other styles, this is the course you need to get you there.

I’ll teach you to draw characters without fear, and I’ll teach you to draw characters well - that's my promise to you!

 

Finally, Learn Character Drawing Well

Whether you’re a complete beginner, or intermediate at character drawing, you’ll learn things you never knew you never knew. Seriously. Inspired by masters and built on the theory of giants, Draw Characters  is one of, if not the most comprehensive character drawing course out there.

 

Clear, Easy to Understand Lessons (Scott's No Fluff Promise!)

Crystal clear in fact. Learning character drawing and how to draw people effectively means having information presented in a logical and coherent way. This course is modular by design, easy to grasp, and allows you to learn in a well paced, structured way. Engage in the course chronologically, then revise each module at your leisure. Grasp concepts, such as how to draw lips, eyes, faces, and more, faster than you ever have before – there’s no fluff here.

 

Assignments that are Rewarding

Bridging the gap between theory and practice, each module’s assignments have been designed to both reinforce theory, and feel rewarding. I’ve taken the core of the theory, and purpose built each assignment to help you rapidly progress, and you’ll see the difference in your own work almost immediately. Art is about doing, so let’s get started- let’s draw something awesome!

 

What's Your Style?

Whether you want to learn Character Drawing to draw for games, comics, cartoons, manga, animation and more, this course has you covered. I'm not teaching you a 'method' or a 'way' to draw, I'm teaching you to be fundamentally good at drawing characters, whether you prefer traditional pencil drawing or you like to draw digitally.

 

What are Students Saying about this 5-Star Course?

"Probably the best art course I've ever taken -- online or in college. Wonderfully presented, it helped me correct mistakes I'd been making that were really holding my artwork back. I've seen phenomenal progress after 30 days practice of the course material. Highly recommended." 

Dan Rahmel

 

"Just a perfect 5 stars rating. It's really complete and filled with advice, theories and concrete examples. As he said, it's probably the last character drawing course you'll take. It's all I wanted. Thank you so much Scott Harris!" 

Mario

 

"Amazing course. I haven't even started drawing yet because I'm in awe of how simple the instructor makes even the most complicated techniques look. At last, drawing like a pro is within my grasp! I also like the fact that the instructor allows me to just watch the first time through without worrying about drawing until I'm familiar with the concepts. My next time through the course, I'll be prepared and more confident than ever to begin drawing. Even so, I've already used some of the concepts in this course for a sketch here and there when I feel inspired to draw, and I can tell worlds of difference between my former drawings and newer ones. Laid back instructor, but very knowledgeable. I highly recommend this course."

Eric Beaty

One Last Thing!
The sad reality is that other course creators are copying my content and work - that said, I want you to know that NOBODY will teach you like me.

Meet Your Teacher

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Scott Harris

Painter and Illustrator

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Level: All Levels

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Transcripts

1. Draw Characters 109 New 1080p: Hello and welcome to draw characters 109, line art, finishing and inking. Once we've established a great character drawing and character design, we're going to want to finish them to a higher level. Line art as well as inking has specific rules and techniques that we can use to enhance the 3D, the cleanness, the professionalism, and the finisher of our drawings. In this module, we're going to go through everything to help you finish your drawings up to a professional level. As usual, I encourage you to go through all the lessons. First, get a feel for the content, and then go through them again and do the assignments. Looking forward to showing you how to finish your drawings. Well, see you in the lessons. 2. Creating Clean Lines and Line Art for Finishing Drawings: Welcome to Module nine. And in this first lesson, we're gonna be looking at creating clean lines of creating clean line art as we talk about finishing our drawings, bringing them up to a professional level. In front of us. We have a rough drawing of a girl. She was busy doing tracks, you're jogging or something. And suddenly she's summit of fireball of some sort, Chicago. And she's in a state of shock with quarter at the moment when she realized she has this ability and the force of it's blowing her hair back and she's a little bit stunned at this. Alright, so we have our rough drawing here and we want to bring it to a place of clean, clean lines, right? We want to the lines so nice, clean state. But before we do that, we need to take some notes and follow some guidelines before we get there. The first thing I want to reiterate, and you've heard me say this countless times throughout the course is looseness. Looseness. There is perhaps no greater boon to your drawing abilities than being Luce. Alright, so in order to do clean lines, we need it to be very loose with our arms. We need to draw without arms, not without risks necessarily unless it's a very small area. Get the lines being nice and smooth. They get that smoothness from the speed, and they also taper nicely at the ends from that speed. We want looseness and also loose lines are dynamic lines to dynamic lands appear to have a sense of directionality to them. And a dynamic line is appealing, or a static line that's drawn slowly is not appealing. Alright? So Lechs appeal and it's one of those elements of the buffalo so to speak, right? We want to use this as another thing to use. We want to use all of the things. Use all of the Buffalo, as Bradbury says, and really get our lines nice and new. So even the very lines that we draw with, we want to apply our shape theories two of looseness and dynamism. All right, so looseness is extremely important. The next thing I want to reiterate in our notes is that rough and refined stage thinking, right? And the Mindset, module five, less than one, we will discuss rough and refined. And I talked about good food being made in a kitchen. It's not very neat in there, it's very messy. But when you receive it at the restaurant, it's beautiful and it's tastes nice, the presentations good. We want to have that same sort of mindset when we're doing a rough. Rough is about planning and refined. It's about being loose and free, a little bit more creative, but we want to focus now on cleaning up and detailing well and keeping things neat and clean and presentable. So you want to change gears when you're moving into doing clean lines or refund lands on your piece. Then the next thing that I want to mention is that we want to do baselines first. This is non weighted, non weighted lines, so we don't wanna do the line weights here. We just wanted to baseline is. And then we want to move into lawn waiting perhaps on a separate layer if you're working digitally or after you've done the basic lines on your drawing on traditional, right? We do the line waiting often end up tying into all of this is that we want to draw thin lines, are fairly thin lines. And the reason is it's much easier to thicken the line than it is to thin a line. Right? So these are these are basic guidelines. These are our basic guidelines when it comes to creating clean line art. Now, you're going to find, let's get into this. Now. You're going to find that you may not be super good at doing this initially when you wants to create clean lines, freehand and doing it freehand is the narrow gate, if you will. It's the road less traveled because it's really hard to do clean lines freehand without quite a substantial amount of practice moving your hand to get those lines very clean. But it's certainly the more rewarding road. And at the end of the day you will be much more efficient than someone perhaps using Illustrator or someone doing 1,000 billion undoes to get each line perfect. I will still are still personally undo a lot, but you will undo for less and you'll be far more efficient at jointly nons freehand. So what I'm doing is I'm creating a layer on top. Let's call this layer clean lines. If you're on paper, you will want to have a nice refined rough. This is a little bit unrefined and you wanted to have a more refined rough. And then you went to simply do your clean hands on a new piece of paper on top. But here we're going to do the clean lines on a layer on top of our rough lines. I'm going to drop the opacity of our rough lines quite substantially here so that we can see the clean lines. And using our notes, Let's infect. Bring our notes, scale our notes down so we can see them while we're doing this. Right? We're going to end digitally working digitally. It's peace dependent, but usually on a three-page, I'm working at about four or three line thickness in terms of the pixel, the brush waiting on the line. But you'll want to work with thinner lines, right? Always remember thinner lines. We want to do our baselines first and then align waiting after. So that we can have some control over our line waiting more control over alignment if we draw thin lines. And additionally, if you're moving into painting your piece or coloring your piece, thinner lines are generally preferred. Of course it's based on the style you might, you might want to do a style that is really ludicrously thick lines, right? So of course go for it then. But generally speaking, if you wanted to look painterly afterwards or whatnot, you want to consider thinner lines if your intention is to make the lines disappear, right? So what we're gonna do here is very loosely draw in the side of her head. And the movements that I'm doing is that I'm using my arm to draw, first of all, and I'm making sure that I'm trying to draw quickly and being using a single struck, right? I don't want this to look like a rough, clean line work which we will cover in the next video. I want this to look like clean, clean, clean, clean line work, right? We want it to be very clean and have a look of precision and confidence about it. And so what I do is I try as much as possible to use a single stroke. I'm very quick, uh, try to be quick with the lines. You can see what I'm doing here because I want that effect of the land tapering. Alright? And let me note as well that similarly to traditional, I'd be using a brush in Photoshop here I'm using my own brush called inker flatter, which is really just a solid color brush that has size on the pin pressure, right? There is no opacity change in my line work here in the actual ink, that it's always black. No matter how hard or soft oppress it stays pitch black, much like an inking pen. Nevertheless, I tried to move very quickly and I'm going to just very quickly get these details in. Let me just say I change the structure a little bit there. I'll just draw it again. And I'm focusing on moving quickly. Right now when it comes to our eyes here because it is quite thick in the rough, I'm going to thicken up my brush. And I will be a little bit stroke key if I can say are a little bit scratchy. Just because the eyelashes teens to have little bits of details poking out of them. The little lash lines and little hairs and things. And so if the upper lid line is a little rough looking, it's not the end of the world because it kind of matches, right? As well as the load line to some extent. Because you've got those little hairs poking out. Alright? And you can see up quite thick, thick waiting on the eyes. But that's generally the only place I would have slightly thicker waiting. Otherwise, the rest of the areas, we will return back to our thin lines, straw in the nose. And once again I'm back to one stroking. Alright, I just want to one stroke everything. But don't get it to undo and try again. Let me say while I'm doing this, I am working on a webcam, it's antique tablet, that means I'm drawing on the display. And this will be particularly hard for you, especially if you're a beginner, if you're using a webcam tablet, because the hand-eye coordination is not as accurate on those devices as it is when you're looking at it and drawing it, drawing on it as if it's right in front of you. Now, don't be discouraged because fortunately, Photoshop has made advances in the last few years. We've included a, the ability to rotate your canvas. But in Photoshop's rotation tool is R and you can just simply click and drag if you're on tablet. And I also do it very often on this particular antique. That is a useful tool to helping you learn not quite quickly. Will join her lid line there and our lead line here. And so we'd move through the piece, drawing in each of these elements, trying to be as accurate as possible, trying to be as quick as possible. Using our arms to draw and so on and so forth. Alright. Then we'd move on to the line waiting phase, which we would put on a separate layer. I see ever done half of this and the notes layer, it's not the end of the world. But then on a separate layer, we would do the line waiting. And I'm going to rotate this page here to do the line waiting. And the beauty of doing you're waiting on a separate layer is that you can then control the weighting much more easily for first of all, where if you make a mistake, you can easily erase just the waiting and not actually touch the base drawing which you've hopefully already completed in terms of its baseline waiting. But additionally, when you do the line waiting on a separate layer. You are able to be more efficient at waiting. Because when you look at the base work unweighted, you can decide the key areas where you need to wait. But if you're waiting the lines as you're doing the cleanup, you end up perhaps overweighting some areas and the whole piece seems equally weighted everywhere almost. And you've, you've, you've added line weights and you've spent time adding line weights to places that probably really didn't need it or it really didn't matter much. It's also more efficient to wait after you've done your baseline, your baselines. Alright? And so this is basically the process we want to use. Now you might be saying, Well, I'm really bad at drawing these smooth lines. I'm still new and I need lots of practice. So how can I get clean lines if I can't do this yet without doing 8,000 undoes and you're gonna get hand cramps when you do that. Many undoes, right? Well, first of all, I would say practice is the best medicine for this. You really want to just keep doing it. Keep practicing. Try and get your hand and your arm used to having the arm doing the lines, lock your wrist, let the arm do the lines and you can get some great smooth lines. Ultimately, a lot of drawing really is just S curves, C curves, slot curves. And that's pretty much it in straight lines. So it's not like there's thousands of different ways to draw the lines are just kind of combining them. But I know that perhaps you may be Nc and you wanted to get straight to it. So I do have a solution for you, some software out there. And the software I'm gonna show you today is Clip Studio Paint has the ability on their inking tools, right? So here I've chosen the pane on the left hand side. This is Clip Studio Paint Pro over here. And I'm using the turnip pen, but many of their pens at this option had the ability here for stabilization, line stabilization. Now, at its current setting, it draws very much like Photoshop. It will require me to use my alma lot to get smooth lines. But as I ramp this line stabilization value up seconds to something really high like 17. What it does is it draws in the line a few milliseconds up to, I think a few seconds after you've drawn the line and it's smooth the line out and it kind of follows where you want it to go. So you can't see my hand moving on the tablet as I draw this line, but effectively, as I draw this line for the side of her face, I'm finished drawing the line before this application has ended the line, I'm already finished drawing it and it draws it in afterwards. And it makes drawing clean lines very quick and easy without you having to do too many undoes. So this is also a very good solution for efficiency. But also if you find that you're really struggling to get those clean lines, get an application like Clip Studio Paint pro. I think open, not open canvas Paint Tool. Sai also has land stabilization and a few other applications have land stabilization in them. So check to see the features set of that Clip Studio Paint is actually really nicely priced. So I must second highly recommend this. You can see here it really, I can just get these all in one go. Perhaps I'm being a purist, I would still advanced, striving to develop the ability yourself to just freehand very clean lines. Now, before we end, let me show you one more great thing you might want to consider doing, particularly if you're working digitally and when you're creating your luck clean line art. Over here I have a picture of my piece called grandiose. And her land weighting is done and her line OD is done. And she looks pretty cool. But there's a problem with digital. Digital tends to be very sharp. By default, everything is very sharp and very edgy. And it takes a bit of a natural look away from the work. But there is a wonderful trick you can do when you're working digitally that I can say traditionally almost comes by default. Traditionally inks kind of bleed at a micron level on the page. You can't really see it that much, but there's a vibe of it of what we're about to do. So here's the final lines on the layer. And what I'm gonna do is I'm going to duplicate these lines. So now I've got to funnel lines layers. Let's call this 1 s layer. Okay, So there's two fine lines. You can see the piece got really dark. I'm going to put the second layer behind the first layer. So there's the final lines layer, they're just putting that L. I'm going to put this second layer here. And I'm going to now go into the filter menu. And many applications have this capability. I'm going to go to the blur menu here. I'm going to select a Gaussian blur. It may be different per application, but you can play around with it and see where that option is. And what I'm gonna do is I'm going to apply a slight blur to the lines below my main lines. Alright, just a slight blur. And here I'm just, I'm really just playing with the slider. So if I take the blur off, you can see how sharp and AG, my clean line art looks, maybe to shop. But as I blow this lower layer, I can add a gentleness or a softness to my lines, making them look exceptionally professional. This is one of my top tricks, one of my top secrets. Sometimes they'll even lower the opacity a little bit if I don't want the effect to be too strong, but I still want it there. And let's see when we take it off and on. Very sharp, much softer when you look at the entire piece in its entirety. Well, from that distance it doesn't seem that appealing, but believe you me, it makes all the difference in the world. And in terms of lighting as well, if you are familiar with Latin terminology, what it does do is, in a sense, it almost adds a sense of ambient occlusion to your lines. It really softens the lungs up with it off, with it on, with it off, with it on. And when you get to coloring and makes all the difference in the world on the piece to have the land's not so razor sharp like this. The sharpness kind of looks cool in a sense. But when you start coloring, it just looks so digital. And if you want to just to look a little bit more natural, you can soften those lines in the background. That is the end of the lesson. I hope it's been useful to you. Please practice it and I'll see you in the next lesson. 3. Creating Rough Clean Lines and Line Art fo Finishing Drawings: Creating clean line art is great, but what if you want to have a bit more of a sketchy look on, more of a traditional look in your work. Well, the two options that you have available to you, or one using a textured brush digitally or to being a little bit more rough, but in a controlled way. So in front of us, we have Clip Studio Paint here. I've chosen the textured paintbrush. And if we compare that e.g. to the gel pen brush or the turnip brush, you can see that the textured paint brush is a little bit more rough on its edges. Let's just zoom in a little bit there to see that what we could do is we could still follow the exact same principles of creating clean line auto, creating good line on that we saw in the first lesson. But we're just going to use a more textured brush. And of course, these brush packs, this comes with Clip Studio, but however, for Photoshop, you could find it thousands of brush packs available online for free with all sorts of textures, for all kinds of pencils, every pencil you ever imagined, probably you could just carry on in that same way. But let's take a look at a different approach. If you don't want to use textured brushes. Moving to Photoshop here, one strategy I've found when you want to get, but a more of a traditional look is to use a very thin brush. But instead of doing a single strokes for every line, you sketch it a little bit more. So in this instance I'll double line vet and I'll come down hand sketch that. I'm taking care to still stay loose and on the same track. But I'm actually drawing additional lines in where I need them. Not too many. I don't want it to look too crazy, but I'm taking a little bit easier in a sense on myself in terms of getting those clean lines. And now because I'm using a thinner brush, you don't notice the floors overtly. You're not seeing these crazy lines and thinking, well, I don't think people generally will look at your work and go, Well, look on Tati is even though you are he or she shall say, even though you are putting in these additional lines. But it has quite an interesting effect to double the lines and be a little bit more sketchy. But you're actually doing clean, sketchy lines in a sense, right? And that can give your work a nice traditional look as well and see how appealing that looks as well. If that's the look you're going for, perhaps you're not intending to do some crazy level of super painting or something on top of it, we need perfect lines. Then you can just sketch in these lines keeping those same shapes, being loose. But you can see how easy it is to achieve that effect. The key here being thin lines, you need to use thinner lines do this because you're gonna be doubling the lines up. And really, that is all there is to creating slightly rougher line art. That's it. I'll see you in the next lesson. 4. Character Composition When Drawing Characters: Let's now take a quick look at basic layout and spacing of your work. You've finished your drawing, you've done your line art. The drawing is complete and it looks great. And you want to make sure that the land on the page has done well. The first thing we want to be thinking about is page composition. So when we're putting stuff on a page to display, we're bound by the rules of that page, right? We're bound by the borders of the page. And this is called page-based composition, where the borders of the page are in fact an element of the design themselves as well, right? So when I'm putting a single character on a page or painting in an environment painting or a landscape painting or doing a portrait painting. The actual borders of the page are actually part of the design as well. And so we want to use the negative space. We want to be thinking about the shapes of the negative space, and we want to try and design in the snap. Fortunately, there is a system called the rule of thirds that it helps us easily layout our content, our drawings and paintings and whatnot in a logical fashion that is balanced just following this simple rule. And you've probably seen this on your camera before, your phone camera. What it is essentially is a grid of three-by-three, where the page is split equally into these non spaces. And what we want to focus on is these areas here, the intersecting points of these lines for our rule of thirds. Now, this of course, depends on the type of composition you're going for. So a third spaced composition would put the focal point of your character. Usually their head would try to keep the focal point of the character, your number one focal point in one of these zones. So we're looking at a portrait, a portrait orientation page here. And if we were going for a third spaced composition, we would want to put this character, her name is go India. We'd want to put grandiose head or focal points close to this number one in the area of this number one or any of these, but at least one of them, right? We want the focal points to be at one point yet, however, that's great. Perhaps you've got a character that fits in an L shape or something with that would make logical sense. But a lot of the times we're drawing our characters, perhaps in a way where they're just a single character on the page. And so what we wanna do is another type of composition still using the rule of thirds, though, called iconographic composition, where we try to keep the bulk of the character in the middle blocks, right? So that's kind of grindy as composition here, but she's not properly or well composed on the page just yet because there's something else we have to take into account a part for the page-based composition. And that is the space around the character. Too many times people will draw the characters kinda partially off the page, right? Or too big or really too small, which is often occurrence as well with it is this tiny little character in from the page. And what you want to do is try to ensure that when you're laying out your characters, you're laying them out with adequate space around them. So imagine them in a block, almost like this Photoshop block, for instance, where there's adequate space around them that will frame the character. Alright? It's basically highlighting the character of the space is how long the character for the viewer. And it's making the viewer feel like things aren't going too crazy, that they've got space to contemplate the piece, that there's space around the character that is helping us focus on the elements of the character and not worrying about us reaching the ends of the page. Once again, remember the borders of the page or in fact, design elements of the page. And so is the spacing, it's a design element. So you want to see it as a thing that you want to try to use to enhance your piece. Right here, we've adjusted the spacing around going there, and she looks much more evenly spaced now than she was before. She was a little bit big. And then last but not least, you will want to probably put your signature or some kind of information on there, maybe the date and whatnot. And my advice here for you is try not to have your signature be too big or too small and try to put it in a place that is not overly highlighted or that is not overly in a focal point, e.g. you don't really want to put yours. I wouldn't want to put the signature here inside of the loop of the hair braid because they have read itself, is creating a focal point out of the signature. And you want the signature be seen, but it's not really part of the piece, right? So put it somewhere where it's kinda out of the way, but it can be near the piece, but somewhere where it's not going to necessarily be a focal point, I would avoid generally putting it interest in the corners and things like that in these types of illustrations. Where it really is going to be more beneficial if it's closer to the piece like that and it makes the piece look more complete and more professional. Will write. And that is pretty much it for our layout basic lab in spacing of my characters, we want to remember the rule of thirds composition, iconographic composition, keeping good spacing or anti characters, and then also ensuring that our signatures on not being, becoming focal points in our p.sit. So signatures around moocs and what have you. And let me say one final thing. If you are posting your work online or digitally, I would certainly recommend putting your website down at the bottom of the page here. I'm just tapping on that yet. And putting it somewhere on the page. Because of course, in today's digital world, we've got two people downloading and sharing and saving to the hard drives and various things. And having your website address there, your link there. Especially if you're looking for freelance work, you want to get noticed in the industry, whatever industry, the film industry or the game industry, It's good to have a website on there. Once again, make sure it's not a focal point and I would keep it fairly light. Just, just a way for people to know who did this. Even writing your name next to your signature is a good idea. Alright, that's it from me for this lesson, and I will see you guys in the next module.