Drawing a Character's Body in Moho Pro

1. Introduction: Hi there, My name is Chad trough Gerben. And you are watching how to design a cartoon character body inside of MOHO pro. Previously on this platform, I showed how to design a cartoon characters head inside of MOHO. And so this is the next natural step. We're going to draw up the body. We'll add in a torso, shirt, jacket, pelvis, arms, and legs. From there, we'll also add in some additional line work to help with the details of the character. And this will then set us up to either start rigging and animating. Or we can go even a step further if we wish, by applying shading, highlights and other details. So by the time you're done with this class, in conjunction with the previous class, you should have a strong understanding of how to design a cartoon character inside of MOHO Pro. 2. Designing the Neck and Shirt: For this lecture, we are working off of 08 Chad vector dot Moho. Feel free to open up this file. We're now going to dive in and start drawing up the body. And we'll start with the topmost portion of the body, which is the neck and color. And then we'll draw out the shirt. If we zoom in here, you'll see that we actually have two different areas for the body. We have the jacket and then the shirt itself, which is underneath. And so we'll split this up so that we can tackle a jacket in a separate video. The first thing we want to do is create a new layer for the neck. So new layer vector, name it neck. Taking the eyedropper. I'm going to come over here and just click on the head anywhere within the face, just as long as it's not within the mouth or eyes. And you can see, once I click, we bring the properties over to the style panel. Still on the neck layer. I can hit the a key on the keyboard to bring up the Add Point tool. And for this, I can turn on auto-fill and auto stroke in addition to auto weld. And we'll start near the top of the mouth and just click and then drag down. And then click near the bottom of the mouth. And then create your third going down like so. And then down, over, up, and then up. And then we can wrap it around and connect. So once we do this, we can click off and see what this looks like. We have the NEC currently above all, the face assets. So that's why this is looking incorrect. To fix that, we can take the neck layer, click and drag and bring it below ponytail and release. Actually, I was mistaken we want it above pony tail because the pony tail is going to be behind the body as well. And the neck would be part of that. If we have the neck below the pony tail, you can see it doesn't really make sense to have the hair overlapping right there, which is why we choose to do it this way. Regarding the shape of the neck, I can come in here with the curvature tool and start to play with how these lines are bending and shaping up. And right now it's actually not looking too bad. It's a little bit hard to tell with the sketch, but something like this should be okay. And that's looking good for now. Once we get the color and we'll have a better idea of what we're dealing with. Speaking up the color. Let's create a new layer for this and name it color. I'll place the color below the neck. So we're just going to bring it below like that. And when drawing the color, I will hide the neck as well as the pony tail that way I can see the outline easier. Making sure I'm still on the color layer. We're just going to come in and use the Add Point tool. For the style will use a stroke with a four and the stroke color set to black. But for the color of the color, which is going to be the color of the jacket. And again, this is going to be kinda split up into two separate things. We'll do the main part of the jacket next. But coming in, I'll set up a dark orange color for this. Just for right now. Maybe closer to the red side, about like that. And click OK. And then we'll start in the center of the neck like this and just come out and start applying our points. Creating the shape that we see here. Come down like this. So it's about like that. And then we can bring it up. And then it's just going to wrap around up like this. And there we go. So when we release, we get something that looks like this. Now if I hide the color, I can come in here with the curvature tool and start to just mold this so that it looks closer to the original artwork. And again, it's kinda hard to tell what the sketch. I might bring some of this back a little bit. And again, you don't have to go exactly based on the sketch. There's some liberties you can take. Actually, I keep changing my mind. We'll stick with that for right now. And then I'll command and just adjust the curvature anywhere else that it's needed. And of course there's additional line work that needs to be done, but I'll take care of that in a separate video. So now if we bring this back and we bring the neck back, we can see it doesn't look quite right. And that's simply because we have the color behind the neck. And Because of that, the caller can't overlap and create the shape we had in the sketch. So that means we have to go in here and kind of trick it a little bit by molding out the neck to accommodate the color. So if we come back here, we can see the colors looking like this. So I might want to come in with the curvature tool and just straighten up these edges so that it looks like the edge of the color a little bit more. And if we come back and we hide this, we can kinda get an example of this outline. But if we hide it further, we can also come in here and fine tune if we feel it's needed. Like I could maybe bow this part in a little bit just to kind of go along with the original sketch and just maybe bring things out a little bit like that. There we are. And if we come to the color and look at this, it's looking pretty good. So now if I come back here, we can see now the color is in place. Just by going in and molding the lines a little bit, we can create that illusion. So let's finish up now by drawing out the shirt. And then in the next video we can focus on the jacket, which is where this color belongs to. Making a new vector. I can name this one shirt and then hit Enter. And for the fill color, Let's select a light blue for this. So let's go with something like that and then click OK. Using the Add Point tool, we can come in here and just use the body as a way to create the shirt. And if it helps, you can also come in here and hide the head and the neck and the color, just so we can see the outlines a little bit easier here. So starting with that shirt, I'm going to start just a little bit below the color like that. And come down and go right here and just come in and we don't have to follow the jacket exactly. Since this is underneath the jacket. We wanted to not overlap or go outside the bounds of the jacket. So I'm just going to put it back a little bit compared to this line and just kinda come down like so. And then we'll wrap around. I can come up like this. Again, just staying away from the edges a little bit. I can bring it a little bit closer. But we're a little bit of ways and just keep going up. So just keep going up. And then there's this one. And we can connect to create our shape. So I can zoom out and we can take a look at the shape. And it's not bad. We still need to add the design work in. But so far it's looking pretty good. And if I bring everything else back and if I were to take the shirt and bring it below the neck and color just like this. You can see now that this is starting to shape up. One last thing I want to do, and this will become more important, especially if you plan to rig. But in our case, it's important just for the sake of looking at the layers panel and not getting lost, it's best to start organizing your layers a little bit more. So far we're naming everything and that's looking good. And we have some groups. But it might be best now to group the head and the body separate. That way it's just easier to navigate as you continue to build these things up. So I'm just going to come in here and find the head and holding Shift and go and click on here, which is at the top. And then right-click group with selection. We can rename the group to head, hit enter, and then we can downsize it. So then you have the neck color, shirt and ponytail, which the ponytail should belong to the head you would think. But again, because of how we have to organize the layers, we need to keep it behind everything and we'll include it within the body group. So selecting pony tail will go all the way up to neck, right-click, and then choose group with selection. And we can rename that one to body and then hit Enter. And then last but not least, because we're eventually going to have to do this anyway. Let's just click on body, hold and shift. Click on head, right-click. And then we're going to group one more time to create a main group, which we can name Chad and then hit Enter. Or in the case of your own work, if you're working on another character, by all means, put in that character's name. But if you want to name your cartoon character after me, I guess I can't stop you and well, I'm honored. Anyway. There you go. We have the shirt setup. We'll pause here and up next, focus on adding in the jacket. 3. Drawing the Coat: For this video, I'm working off of 09 Chad vector. Feel free to open up this file. We're going to continue on now by drawing out the jacket. So focusing here on the body, I can come over here to the body group and drop it down. And we're going to create a new layer. We'll add this layer underneath the color, but above the shirt. So by clicking on shirt, I can come up to New Layer vector and then just make this new layer and name it coat or a jacket, and then hit Enter. Next, we want to grab the eye dropper, which is L on the keyboard. And I will select the color. Coming over here to the fill on the style panel. I'm just going to up it a little bit so that it's a little bit brighter than the color. And then click OK. While still on that layer, I can hit a on the keyboard to bring up the Add Point tool. And just to make it easier to see the sketch, Let's hide the shirt, as well as the color and the neck and the ponytail. And let's make sure we have coat visible. So coming over here, we're just going to start at the top near the neck, like we did with the shirt. And then just come in and I'm not going to quite match the color. I want this to be slightly below the color. So we can come right there. But then from that point on, we can just start adding in points based on the lines we have sketched out. So I'll come down like this and then wrap it up and around. And just keep going up like so. And then let me just zoom in a little bit here. We're going to move down. And then over. And then we can go from there down like this. And just start adding endpoints, moving down. Select that like that. And we just keep going bringing things up, connecting and molding, and trying to adhere to the original sketch. So there we go. Once we release, so we get something that looks like this. I know I need to refine some things, so just to make it easier, let's hide the coat. We can still see the outline by doing this. In coming in here, we can use the curvature tool to just start altering some of these points. Select this and this could probably actually come over like that. So with the combination of the curvature tool in your transform points tool, you can just come in here and make your adjustments. And just as a reminder to alter individual Bezier handles, so you just hold an ALT and that's what I'm doing right now to alter each curve as I see fit. So that's looking pretty good. Coming down. I can just bend this one and that one. And just like that. And all the lines seem to be looking pretty good. So now if we bring the coat back, It's looking like this. But then if we bring the color in the neck back, we have something that's looking like this. I'll pause the video here and up next, we can keep building up the character. 4. Drawing the Pelvis and Cat Belt Buckle: For this video, we are working off of 10 Chad vector dot Moho. Feel free to open up this file. We're now going to go down and draw out the pelvis along with the cat belt buckle. But before I do that, I just want to jump over here really quick. In the previous video, I meant to push all this up and I am just simply spaced it out. And it's a really easy fix. I just want to address it right now. We're just going to grab these points and move them up. So that way the shirt looks like it's coming to a natural line right up there. And if we come back here to the neck, you can see that we have something going on here with the color and the neck. But if I just take the color and move it up a little bit. We could also come in here and adjust the neck to kind of fill in that gap. You can see now it's looking a little bit better than where we were at before with it. And of course we're going to continue adding line work as we get to the polishing stage. So that'll help with that as well. But moving on to the pelvis, I'm going to hide everything here except of course for the sketch. But the shirt and the jacket for sure will be hidden. And then coming down here inside of the body group, I can make a new vector and we can name it pelvis, and then hit Enter using the Add Point tool. First, let me come over here to the style panel. And for the color of the pants, I'm going to do something of a dark gray. And then click Okay, I can start above the cat buckle in the sketch and just come in here and start drawing out the points. Again. We can just trace the original sketch and just bring everything up like that. And that's looking pretty good. Of course we could add in some details, but we'll get to that point. Again. We're just putting in the basic shapes for right now. And then for the cat buckle, I can make a new layer. Once again. I can name it cat buckle or buckle or belt. And then this Zoom in. Taking the Add Point tool. I can also come in here and change the fill color to orange since it's an orange cat. There we are. Click Okay. And I might adjust the width here. Maybe two that could change. But we'll analyze all that as we get to the polishing stage as well. But coming in here, we're just going to trace over these lines. Coming up like this. And then over and up and down to create the shape that you're looking for. And we can also just kinda bring all this in a little bit. And maybe these out. And I might just come in and adjust these points just to kinda flatten out the shape a little bit like this. And let's add in another point right there, just to kinda help. There we are. Again, it's not so much drawing as it is designing and molding and just feeling things out until you get the shape and the design that you want. There we are, That should be pretty good. And if I hide this, you can see we have some details on the cat buckle. Really quick. I can just come in here and add in some line details. It, this is something we can also do in the polishing stage, but I can just do it really quick. So we have some lines for the eyes and then coming in here we have the nose. Let me just go from that point and then we can do the mouth. Come in here and just see it's like that. And just up a little bit more. Perhaps something like that. There we go. And then you have some other lines we can add it in as well, such as the whiskers. And you could spend as much time as you want on these types of details. It just kinda depends on what you're looking for. But once we have that, I'm just going to bring the cat buckled back. And then using the Create Shape tool, I can come in here in lasso all the line work. And remember you can lasso points and then holding Shift and continue to lasso or select more points until you get all the points that you want. So just like that. And I can come over here to stroke and then create the shape. And let's even reduce the line width to one on those details. And then we can also move in here and select all the points for the nose. Click on both, and make sure our fill is set to a dark gray and then we can create that shape. So you can see now it kind of looks like that. And we could also, again, just keep adjusting all of these points. And actually I don't think I created a shape for that line right there. So let's just make sure, oops, lead us to select, try that again. Make sure that those two points are selected and then create that shape. There we go. So now everything should be in place. And we can keep working on that as much as we want. But let me just come back here and I'm going to start bringing everything back. And so far we can see how this is looking. I might come in and adjust the shirt really quick because it is covering the cat buckle and we don't want it to appear that way. It should appear as if the cat buckle comes right after it. So I'm just going to bring these points up really quick and just keep bringing them up until we expose that buckle. And one other thing I could do is once we get to that point. So you have, let's say the shared about to the height of the nose. You could also bring the cat buckle in front of the shirt and that should be okay as well. And maybe I'll move it down this a little bit. There we go. So now you have something that looks like that. Things are shaping up. But I'll pause here so things don't get too long. And up next, we'll work on the front arm. 5. Drawing the Front Arm: For this video, I'm working off of 11 Chad vector dot Moho. Feel free to open up this file. We're going to dive back in and now focus on the arm. In order to see the whole front arm from the sketch will need to hide a few body parts. So inside of the body group, we can hide the shirt, the color, the jacket, and the neck and pony tail as well. In here we can see the arm. Let's come over here. And above Cote, we will make this new vector layer and name it F dot arm or front arm, and then hit Enter. Now I'm just going to come over here. And we could use the shape tool for this and use a rectangle and then shape it from there. But I'll use the Add Point tool. And starting at the top where the shoulder is, I can click and drag and move it down to about where the middle of the arm should be and release. Then I'm going to grab this and move it down and release. So now we've got to create the sleeve. And I can come in and just create some points to go all the way around the sleeve. Add another point to match the point on that end. And then we can bring this up one more time to the top to complete. So now, once you have that set, you can see things are not quite looking right? Well, we just have to adjust the curvature. But first, let's bring back the coat just by clicking it on the reveal button in the layers. And then using the eyedropper, I'm just going to come in and click on the coat. So that way we select that color for the arm. And we can click off. Now using the curvature tool, I can come in holding Alt. We can start to move things around. And as you can see, it's starting to shape up pretty quick as you start to make these changes. So I'll come in and just get everything set up. And good to go. There we are. And we will have to just zoom in a little bit here and see what's going on. Just a matter of getting all the edges and the corners straight, rounded however you want them setup. Okay? So if we come back here, you can see that the only detail missing is the line separating that cuff. So just come back here and use the Add Point tool. I can come in here and just create that line. And then grab the Create Shape Tool. Select both of those points. And then with stroke selected, create the shape. And now we have that line for the arm. The last thing we can do is grab the height edge tool and simply hide the line right here. So that way it's not obvious that it's separate and another layer. And as you can see, this arm isn't quite matching up to the top part of the body as well. So I can just grab this and move it down to get it more in line with where I need it. And that might adjust some of your points, but you can come in here and just make the changes you need until you get it. Just how you want it once again. And there we go. We now have the front arm in place. We still need to add details to it. But once again, this section is all about getting all the main stuff in. So we'll pause here and up next, we'll move on to drawing up the front leg. 6. Drawing the Front Leg: For this video, I'm working off of 12 Chad vector. Feel free to open up this file. Dotting back in. We're just going to draw out the front leg, which will be very similar to how we drew out the arm. Let's just zoom in and let's go inside of the body group, locate the pelvis. And then we can make a new layer above the pelvis. And we can name it F dot leg and hit Enter. Coming over here then to the Add Point tool. And let's make sure right off the bat that we are selecting the same color and stroke properties as the pelvis. We can come in and just start adding in our points. So starting right here, I'll go down to about the center and stop. And then click again and come down. And I'm just going to wrap around much like I did with the arm. And then just come back up. And then up. And then over. And we are now good. Taking the curvature tool. We can come in and start to make our adjustments. There you go. Just adjusting like so. And then we just need to keep going down here, straightening things out here and get this bottom part sorted out. There we are. And it might just have to bring this part up a little bit and just do a little bit more molding here, making it just a little bit more symmetrical on both sides. And then let me look at the curvature one more time here. Just making sure everything is where I want it to be. Straightening it up a little bit more like that. And again, it's not quite like the sketch, but that's okay. The sketch wasn't perfect to begin with anyway. And so if I click off, this is not looking too bad. Maybe just a little bit more work down here. Just with how this all looks symmetrically. But it's looking pretty good otherwise, maybe just straighten that part up. There we go. The last thing I might wanna do is just come in and add in that divider line, much like the arm. We can create our shape. Make sure it's stroke, hit Create shape. And now we're good. There we go. That's looking good. And also like the arm, Let's hide that top edge so that way we can't see the divider line on the pelvis and it looks like it's connected to the leg. Awesome. We'll pause here. And up next, we'll focus on the foot and the ankle. 7. Drawing the Front Ankle and Foot: For this video, I'm working off of 13 Chad vector. Feel free to open up this file. We're going to keep moving down, working on the ankle along with the foot. Let's come into the body group and locate front leg. And we want to make this new layer underneath front leg. So new layer vector. We'll name this one front foot and then hit Enter. Now, we're going to come in with the Add Point tool. I'm going to turn off auto fill and auto stroke, but keep auto weld turned on. Starting here at the top. Just come down. And we're going to just focus on the general shape of this first. And then we'll focus on the divider lines and all that. So just come in, take your time and shape it up. How you see fit. And just come up and around. Just like that. And then we can close it off. So now we can take the curvature tool and just start playing with the most obvious problems here right off the bat. Getting everything more tuned up and workable, hold an Alton, just alter that point, just like that. There we go. So things are looking a little bit better. Let me just add a little bit of a bump like that on that part. And maybe with the curvature tool, just kinda bring that out a little bit like that. Okay, I think that's looking good. Well, maybe not. Maybe we'll do this part. There we go. Now it's looking good. So with your shape in place, we can begin to create all the individual shapes for this. First, let's go ahead and just create one color across the board and then we can alter it using the Create Shape tool. I'm going to hold an Alton, hit a to select all of the points on that layer, and then click both on the top. And then for my fill color, I'm just going to select a darker blue for this. And then click Okay. And then we can create the shape. So now we can use this other one as a guide if we wish. But we have the ankle and then we have the sock. So let's start at the top and work our way down using the Add Point Tool. I'm just going to come in and add in a divider like that for the SOC. And just kinda get it all like that. And then you have your next piece right about here. So we have this flap coming, coming down like that and going up. And then we can have it come up like so. And then you have this one, that one going down, links that. And then we have one more. It's kinda hard to tell, but I intend to have 11 in the bottom, kinda going all the way across just one more detail. So we can just take that one and bring it all the way over like that. Going back here to the curvature tool, once again, it's just a matter of coming in and refining everything so that it works. And we're going to draw in the lines and the shapes here in a moment. But I can come in here and just fine tune any area that I feel needs it. So I like that. And then I'm going to need one more divider right about here so we can just come in and kind of bring it up like that. So now let's zoom out a little bit and the first thing we want to do is grab the attributes from the head. So I'll just click on that. We have that selected. Coming back here now to the foot, we're just going to select our shape and come in here. First, select that top portion with both enabled and making sure my stroke is set to four. I can create the shape. And we have something that looks like this. So now we're going to have a white sock so I can come in and just bring the fill to white. And once again, following the points here, either last sewing or you can just select your points by holding Shift, ensuring everything that you want selected is selected. So come in like that and then create your shape. And then we just have a few more details down here. We can come in and select this. Coming in here to our colors. We can make it a little bit darker. Click Okay, and create the shape. And we can either do the same color down here, are just a variation of it. There we go. Maybe it's a little bit lighter or darker. You can create a shape like that. And then we have one more piece down here, we can highlight. And then we can just create a shape. There we go. So now if we zoom out and you can see we now have some details on the foot and everything is looking pretty good. And for now, we can pause here and move on to the next step. 8. Drawing the Hands: For this video, we are working off of 14 Chad vector. Feel free to open up this file. We can now draw out the hands and that should complete all the main portions for the character. So just zooming in here, I wanted to come in in the body group and locate the front arm. And I can make a new vector underneath the front arm. And just name it front hand. Now the thing about the hands is you can create all sorts of different poses for them. For this video, we're just going to create one relaxed pose. So using the eye dropper, I can click on the head. And then using the Add Point tool, just come in and start drawing things out. And we can take some liberties if we feel it's necessary. But I'm just going to for right now, come in like this and just draw everything out like that. Bring it over and release. So now we can come in and start to play with the curvature of the fingers. Especially here in between the fingers. We can adjust that gap and just get to look a little bit more presentable. And like that. Of course like that. And that's not looking too bad. If I go to create the shape. And I can just do that. And we can currently see what this is looking like. We could still use some work. So we're just going to come in, keep fine tuning this second, bring it up like that. And then maybe bring this one is over a little bit again, just kinda helping correct the bends within the fingers pen and just keep adjusting and moving things until I have the look that I want. So maybe just out a little bit like that. And there we go. We now have something that's pretty presentable. And I could keep working on this and I might as we get to the polishing stage, just kinda depends. But that's not bad. We can work on the second hand, but I think I'm going to pause here since we plan to duplicate the arm and leg. Anyway, I can bring the hand into that. And from there we can add in different details to differentiate the front hand from the backhand. 9. Adding in Hair and Face Lines: For this video, I'm working off of 15 Chad vector dot Moho. Feel free to open up this file with the main pieces of the character now in place minus the back, arm and leg. We're going to go in and start adding in details that were present in the sketch that we ignored when drawing out the main portions. And this is going to include line work. You may recall, if I hide the chat really quick. Within the original sketch and design, we had all these little lines working out to create a more complex design in. So we're going to focus on that, as well as add some lines to the face to help polish everything up. So first if we come back here, you can see that it's pretty basic compared to the sketch. Luckily, we can use the sketch while keeping the hair hidden. And we can draw in airlines and feel everything out from there. So I'm just going to hide that main Chad layer that'll hide everything for the character for right now. And then come over here and click on hair. Now, I'm just going to zoom in and grab the Add Point tool. And we're just going to start adding in these lines where we feel they are appropriate. So I can come in and add a line right there, one right there. And here. And again, you can take liberties just like any part of the sketch. But I'm going to try to follow the sketch as close as I can because I do like the placement of the lines as I have them here. So I can come in like that. And we can bring this over an up command and bring this line up like so. And then we can keep going here. As you can see, we have this strand of hair with a line going all the way up like that. So we're just going to come in and get that in just like so. And the same goes for the other strand of hair. We have some line work we can apply just to kinda help with everything. And then from there, we can come in and add in these different points and bring it all the way up just like that. Hidden, we can try to match things up as close as we can. There are a few more lines over here. I'm just going to come in here and quickly get it all figured out here. So just like that. And I think everything else is looking pretty good. Anyone worried there? Okay, that should work. So now if we come back here and we reveal the hair, we can see where all of the lines are that we need to fill in. So taking the Create Shape Tool, select all the points with Command a or Control a. If I come over here and hit stroke, you can see now it creates all those lines and everything is starting to look a little bit more accurate. So now using the curvature tool, we can come in here and start to shake things up even more. And you can hide your sketch or your main layer for the head here just so we can see what we're doing. And you can tighten up these edges and do whatever you feel is necessary for this. I may end up going in here and adjusting the line width. But for right now I'm just going to leave it as is. And we can keep moving on to the head as we continue to work. So now moving down here to the head. So just make sure that everything is lined up with the hairs best as possible. I saw a little gap there so that should work. But with the head, we don't have many lines to worry about. I'm just going to add some details to the eyes as well as under the eyes and then around the mouth. So let's just go into the eyes really quick. And I'm going to start with the top eyelids. So just click ones on top eyelids. And I'll grab the Add Point tool. And starting on the left side, I can just come in here and add a little line like this. You can see it looks just like that. Now I could move it down maybe just a little bit so it's closer to the line to the lid. So something like that. I can then come in and select that line, click on stroke, and then create the shape. Now in this case, I do realize that that line is rather large. So before I create the shape, I'm just going to come in here and make sure that we reduce this to either one or two. Actually, I think one will be suitable for this line since it's a thin line and just adds a little bit of detail to the eye. So there we go. We now have that. I'm going to use Command C and then Command V to copy and paste. And then just drag this over. Come up here to the top bar. And then we're going to flip horizontally. And I can zoom in just a little bit. We can kind of match things up. So command and also reduce the size of this line just a little bit. Again to kinda help with the perspective of the other eye, which appears slightly squished compared to the front. I. Next, I'm going to go to the bottom eyelids and basically repeat this process. So I'll use Command V to paste. No need to create another line. I can come in and just rotate it a little bit like that and then bring it over. And we're just going to lay it down here on the end and get it close to the edge, just like the top one. So it's kind of a mirror effect that we have going on here with these lines. And then once again, we're just going to copy and paste and bring this one over again, opposite direction of this one. We can shrink things up a little bit just to kinda help with the perspective. And I can come down and rotate and do whatever it is I need to do to get this to line up. Next, let's collapse the eyes and come down to the head. Using the Add Point tool. Once again, I'm just going to come in here and right below the eye, we're just going to add two small lines like that. And I'm going to do the same over here. Just come in and add these two small lines. And then we can create the shapes for these. So holding, Shift and lasso those two. And we'll create a shape and we'll keep the line with that one like we had for the eye lines. And then taking the curvature tool. I'm just going to come in and select this first line I created. And then we can scale back the way the curve is looking here. So maybe about like that at 0.5 should be fine. And you can make any final adjustments you feel are needed, but that should be pretty good. And then once again, just come over here to the second line. And we want to select the points and then use the curvature tool. Again just to pick this out a bit so we can create a design that looks like that. And then just bring that up and over. And that's looking pretty good. Now the last thing I'm going to focus on are some lines for the mouth. And they're going to be similar to the lines we just applied, just some smaller lines to add details. So I can go inside the mouth for this. And let's just create a new layer inside of that mouth group. It'll be a vector. And I can just name it mouth details. You can, of course, come up with a more creative name if you wish. But since this area is masked, and I don't want this part to be mass, but I want it to be within the mouth group. I can double-click on that new layer, go over to masking, and then choose not to mask the layer. And then click Okay. So now we shouldn't have any issue with this. As we continue, we should be able to draw outside of the mouth without any of that masking occurring. And all we're going to do is just come in, add in some lines like this. And I want to add in a line at the bottom, which might require me to bring up the mouth a little bit. But that line would be right about here to kinda help with where the bottom portion of the mouth would be. So right about there. Let me grab the mouth group and I'm just going to raise things up a little bit about right there and then come back here to mouth details. And we can keep going here. We're just going to come in and create a shape for this line as well as for these other lines. So that way we have the details in place. And as far as the curvature, this is looking pretty good, but you can play around with that if you feel it's needed. But I think the way these things are curved is just fine. So there we go. If we zoom out, we can take a look at this. So far. Again, kinda hard to tell, but if you use Command R, you can get a better idea of how this will render in how it will look if, if and when you eventually decide to animate it. But as you can see, we have our hair lines in. We might go through and spruce these up into polishing phase. Emitting become similar to the width of these lines. But I think it adds a little bit more detail to the character and it helps things along. So I'm going to pause here and up next, we will keep adding details to the character. 10. Detailing the Ponytail: For this video, I'm working off of 16 Chad vector dot Moho. Feel free to open up this file. We're going to keep moving by adding in details for the pony tail. This shouldn't take too long. And it's a similar process to how we set up the hair in the previous video. So once again, we're just going to come in here and let's find the pony tail. So under head you have your mouth and then you have your head. But then under body you should find the pony tail, which is the last layer within the body group. So once you have that, we can zoom in a little bit, hide the ponytail, and we can see some lines that we've added in. It. Basically, it just going to be a matter of coming in and extending some of these lines out just a little bit. So I can grab the Add Point tool. And for this longer strand, I'm going to come in and add a line going up like this just to kinda help differentiate that strand from what else is going on. And I'm also going to just extend some of the edges like this as well. Again, similar to kinda how we'd had it before when we were working with the hair. Just adding those little details in. There we go. And things are looking pretty good. And just for the sake of design, I wanted to just make this part a little bit pointy compared to how I originally had it sketched. So now we have the lines coming into play here. They're looking pretty good. Lets go ahead and just add those in so we can see what we're working with here. So we will take the Create Shape tool. I'm going to come in here and just lasso all of the edges that I want to fill in with a stroke. And then I can create the shape to do just that. So I'm going to keep going here and add a little bit more. Coming back here to the hair design. I'm just going to come in and do some more line work like this. Just kinda add a little bit more stuff to what's going on here. That way again, it just looks a little bit more on par with the other part of the head. And then once again, I can select those areas once I'm satisfied. And we can create the shape. I'm also going to make sure I bring the line width back to four just for right now. Again, I might go in and adjust the width of these as we continue, but I'll probably end up using a different tool to help with that. So for right now we're just going to leave it at the same line width. And we can zoom out and we can see it looks like that. So from there you could jump in and do different things if you wanted to with the design of the pony tail, I feel it's looking pretty good. I might just do a little bit more with this part right here. And just bring this out a little bit more and perhaps just add a couple more points to help with that. Maybe bring it down and kinda have it droop like fat. This to add a little bit more of a look of hair. Instead of having this big bunched up shape, having a more pointy shapes should help with the design of the hair. So if we come in and just kinda change things up a little bit like that and just put things in. I think that's going to help and it's going to make things look better. And of course, ultimately, once you get the shading in the highlights in, it'll bring it all together even more. But we've now added some details to the pony tails, so that should help with things. We'll pause here and up next, we'll jump over to the body. 11. Drawing Shirt Design: For this video, we are working off of 17 Chad vector. Feel free to open up this file. We're now going to jump over and continue building up the details. This time by focusing on the shirt. You'll recall in the original sketch we have a design for the shirt. It's circular and then has six points, three on the top and three on the bottom. We're just going to recreate that using vectors. And we can get started by first revealing everything and then coming down here to the body. Inside of the body group, I want to locate the shirt. And I'm just going to create a new vector over the shirt and name it shirt design and then hit enter. You could put this on the same layer as the shirt if you wish. But I prefer to work with separate layers when possible. So with that, we can now hide the shirt as well as the coat and perhaps the neck and anything else within that vicinity. So that way we can easily see the design of the sketch. So while still on the shirt design layer, Let's grab the draw shape tool and set it to an oval. And auto-fill and auto stroke are currently turned off. I'm just going to come in here and click and drag and try to draw out an oval that best matches the original shape. And it's not going to be perfect, mainly because of sketches and perfect. But as long as you get close, you should be good. With that oval in place. I'm going to select it and then use Command C and then Command V to copy and paste. And then transform points to reduce the size of the copied oval just a little bit. So that way we can recenter it. And now we're creating a ring. So when we fill this in and we'll be filling in the ring part. So just like that. And I'm going to move this over a little bit to the left so that the right side is a little bit thicker. Just again, to kind of help with the perspective that we've created for this character. Now, we can move on to adding those points. So I'll grab the Add Point tool and I'm going to turn sharp corners on. You can just check that on, on the top. And starting here, I'll start with this first. Just click and drag and move up. And then come down and attach a new point. Just like that. We're going to do the same now for this one right here, Let's create a point, bring it up and down. And then we have one more over here as well. So I'll just bring it up and down. Coming down here to the bottom. We can keep moving just like that. And then we'll add one more going down and up like so. So now we might have to go in and do a couple of different things because of this straight edges. I could come in here with the curvature tool. And you can see right here the edges are pretty straight and it might be kinda hard to tell until we're able to get in the lines. But you can see here we could go in and adjust the curvature a little bit just so it doesn't look as straight in that way. It's a little bit more natural. And It's looking pretty good right now. Let's go ahead and put the fill and stroke properties in and then we'll do a little easier what we need to adjust. So first, we wanted to create some shapes. Saw grabbed the Create Shape tool and making sure I have a yellow fill color with a stroke set to four and black. I'm just going to start with this first shape right here. This triangle. Come in and select both to fill in both. And then create the shape. And I'm just going to keep moving in. In creating shapes. For these triangles. You might have to do just one at a time. Select one shape and create the shape. And just keep moving on until you're able to get all of the parameters filled in. So there we go. And then you have the main oval to worry about. So we can come in and just select all of the oval parts and then we can create a shape to fill that in. So now it's easier to see where we can come in and make adjustments. So I'm just going to start by coming in here and trying to round things off a little bit. First without the curvature tool. And then I'll will use the curvature tool here in a moment. But I just want to make everything a little bit more symmetrical with the bottom and just try to get everything more in line. So something like that. And something like that should be fine. And we can move it down like that. And again, I'm just gonna go in and try to round things off a little bit more using your curvature tool. You can also come in here and try to make those adjustments once again. So I think that's looking okay. You can just come in and run it off like that. Okay. So now if I bring everything back, you can see that it's mostly going to be hidden, but it does help overall with the design of the character. So if we bring it out like this, you can see that's what it currently looks like and it's not looking bad. The last thing you could do, and I might just go ahead and do this anyway, just so that it's more organized, is come over here to the shirt design holding Shift and then click on the shirt. And then right-click with those two layers selected and then choose to group with selection. We can come in here and rename it to shirt. And we can also mask this if we wanted to. So that way, in the event when we're animating the shirt design can't go outside the bounds of the shirt. So that's just a little bit of extra protection for us as we continue to design an animate. But there we go. We now have the shirt design in place. I can pause the video here in Up next, we can keep adding details to the character. 12. Drawing and Masking Coat Details: For this video, I'm working off of 18 Chad vector. Feel free to open up this file. Continuing on with the design work, we're going to jump in and start adding in the details to the coat. You may recall, if I hide this layer, you'll see in the original sketch, we have some triangles going on here as well as a pocket. And we even have some line work in buttons on this side as well. So there are a few things we can do to spruce up design of the jacket besides adding in shading and highlighting, which is also coming here soon. The first thing I want to do is come down here to the body and find the coat. And I'm going to make a new vector layer. And we'll name it details and then hit Enter. So now with coat details, we're just going to come in here and we can keep the layers hidden just so we can see the sketch. Let's grab the Add Point tool. And starting with this little triangle right here. I'm just going to come in and draw it up, down. Just like that. And release. Maybe bring it up a little bit like that. There we go. We're going to do the same thing now with the next set. And I have my sharp corners turned on as well, just so you know, I'm just going to come in here and place down some points like this. And just bring it up like so. And this one can go outside of the edge. It's not a big deal. We're going to be taken care of that here soon, so we won't be seeing those flaws. Coming down here to the pocket. I'm going to turn sharp corners off. And just come in here and create a shape like this, down and up like that. And then we can add in a button using the oval tool. And we now have everything looking like that. We'll have to go in with the Curvature tool to straighten some of that up. But it will work for right now as we're laying things down. Coming back here, we're going to add in another shape similar to the triangles, just a little flat shape like that. And then let's jump over here to the other side before we do the buttons. And we want to add all these shapes to this side as well, except it's going to be mirrored essentially. So instead of it being on the left, it's going to be more on the right of this part of the coat. So we're just going to come in, add in our shapes just like this. And then coming down here we have some different shapes. We don't have a pocket on this side, but we just added two blue strips. So we're going to add those in just like this. Oops, we don't want that connected. So just bringing up like that over. And I can adjust these points once I get to the filling in part. We also have a line on the bottom of the jacket. So I'm just going to come in here and place that line down. We'll put one there, one there, and one there. And then we have the buttons. So first, I'm just going to come in here and add these lines in. So there's one, come in and here's two. Just like that. And then we can draw in the buttons themselves. So using the oval tool, I can come in and just start placing some ovals down and then I can reshape them as needed here as we continue. So for instance, I could come in here and just rotate that one and put this one more into this position and do whatever I need to do. But once you get the ovals down, It's easier than to go in and adjust their position and rotation and whatever you need to do. So there you go. We now have all of the design work pieces in for this portion. Before I start filling in and it's going to come in and adjust my curvature here a little bit for some of these points. So for the pocket, I'm just going to reduce the curvature so that it's almost straight but not completely straight. And for this one, if I actually bring this into the negatives, you can see I can create that Boeing in effect for the pocket that was originally there. So that's also really nice. Just kind of bring this one back. And we can bring that one back as well. So that's not looking too bad. And then down here we have this stripe. I'm just going to select all four points. And then with the curvature tool, use my mouse will get it down. It doesn't have to be perfectly straight. Maybe at around 0.05. But that should work. And then we're gonna do the same for these other two points right here. Let's come in and grab those two areas and then just bring it down like so. And once we bring it down, we should have more control than over where we can place these points. So I can come in here and just get it more arranged so that it looks a little bit better. Okay? And then we have these up here as well. Just come in, select all these points. Curvature tool and then this reduce. Again, I'm not gonna do a completely straight. Just having a little bit of roundness can kinda help with the design as well. So there we go. So now if we click off, we can see we have quite a few details here that we can play around with. So first, let's fill in the triangles and the stripes will be using a similar color to the shirt for this. So really quick, I'm just going to bring everything back. And then using the eye dropper I can I draw operating on that shirt color. And then coming here. And I'm actually just going to decrease the color a little bit too about like that. And then click Okay. So now I can come back to coat details and grab the Create Shape Tool. And we can start right here. I'm just going to come in here and select this. And I'm also going to reduce the size to two and then create shape. So you can see now we are creating these triangles. And I'm just going to come through and we're not going to create a blue pocket, will keep that just as it is her right now. I'm just focusing on all of the blue sections, just like that command and create those shapes. So now we have that. Next. Let's fill in the buttons. So we're just going to select each button. Again, just last sewing them and holding shift. We now have all those selected. We can come over here to the fill color and drop this down to a bluish gray, something like that. And click OK and then create a shape. So now you have something like that. And then last, we want to fill in the lines. So we have a line down here. And it's going to come in and make sure I select that line as well as the entire pocket. And then we're also going to select the lines next to the buttons. So just like that. And then we can go to the Create Shape Tool, go to stroke, and then we're going to just create that shape. So now we have something that looks like this. The last step, because right now if we click off, you can see things are popping out. And we can easily correct this by creating a mask. So we're just going to click on coat details, holding Shift, click on coat, right-click, and then group with selection. Then we can rename this one to coat and hit Enter and double-click on this. Go to your masking. Choose to hide all. And then we can click Okay. And then one more thing, double-click on coat. Go to masking and make sure you exclude those strokes. And then click. Okay. So now our linework is back. We have these designs situated on the coat, which helps spruce things up. But also since we have this setup on a separate layer, it'll be easier to control it if we need to go in and do different things with how the design work is reacting to animation and all that. So there we go, things are looking pretty good now. There are of course always more things we could do. Magic kinda looking at this color and I know the color isn't part of this video, but I might just scoot that back a little bit like that. So that way we can see the edge of this come up and then it overlaps down like that. So there's always little things we can do. And actually looking at the shirt, I might add in a color line really quick, which is a very simple thing. Let's come over here to our shirt and go to the shirt design. And for short design and is going to come in here and add a line that goes like this. And then we can select those points, choose Stroke, and create a shape. And you can see now we have that color line, which again just adds even more detail to the shirt. So that's looking pretty good. If we use Command R or Control R, if you're on Windows, we can bring this up and we can see what it looks like. There's still some issues with some things. Looking at this, ultimately, I probably will reduce the overall line width, but as of right now, it's looking pretty good and we're getting everything we need in so that we can get the animation on track. So I'm going to pause here and up next, we're going to keep building up the character. 13. Detailing the Pelvis: For this video, I'm working off of 19 Chad vector dot Moho. Feel free to open up this file. This is going to be a pretty quick video. I'm just going to zoom in here on the pelvis and add in a couple of details, a zipper line and perhaps a button. Again, just to add more detail to the character. First, let's come down here and locate the pelvis. And by looking at the shape of the pelvis, I could probably grab this bottom point and just round it out a little bit more. I think that'll help with the overall shape of what's going on here. So about like that, that should be good. Now we have our back leg here which is going to be coming in soon. And then perhaps right next to that, we should have a zipper line that almost connects to the cat. So using the pelvis, I'm just going to come in and I'll start right here. I'm just going to create a line that goes up like so. And then zooming in just a second line that comes down like that. So nothing too fancy. Just put it close and get it right about there. And then for the button, we can use the rectangle tool and I'll select a bluish gray, something like this should be fine. And then click Okay. And then you're just going to come in and draw it in just like that. So now we're going to create our shapes. Will create the button. And then just come down and select these lines and create those. So now we have something that looks like that. It's pretty subtle. But if we use Command R, You can see now we have something that's looking good. And perhaps with this button, I'm I come back in here to the pelvis and just bring it out a little bit more. So let's grab it and move it out. Move that out and be even reduce it to one. And then render that one more time. And that's looking a little bit better. We can see the details more. And again, I am going to play it with the line work near the end here. Public end up shrinking all the lines Overall. It kinda just depends on what you're going for, but I prefer to have slightly smaller lines, I believe, for the final product, but we'll get there. So we now have the details for the pelvis in place. We'll pause here and up next, we're going to keep moving. 14. Drawing Arm Details: For this video, I'm working off of 20 Chad vector. Feel free to open up this file. We're going to dive over here to the arm in add in the details for the coat, which is very similar to how we did this for the torso. And in fact, it's probably going to be easier since we have less items to add. First, we need to locate the front arm. So if we come down here to front arm, I'm going to create a new vector in place it above the front arm. And we'll call this one front arm details. And then hit Enter. Coming up here to the top. I'm going to grab my Shape tool. And before I start drawing, Let's also Eye dropper, one of the triangles on the jacket. That way we can get that blue color back in our style panel. Starting here at the top, I'm just going to come in and draw out an oval, making sure I have the oval selected. So we can come in like that and just draw out the oval. Continuing on. I'm going to draw out some strips and we can use the rectangle for this. The first one can come out like that. And we'll just place it over like so. And I'm going to copy and paste this one and just bring it down. And this one's going to come out just a little bit to add a little bit of variety. And then here near the sleeve, I'm just gonna grab the triangle tool and come in. And we're going to add some triangles. So we can add one like this. And I'm just going to rotate it in. Is it doesn't really matter what side, but about like that should be fine. Come out like this, and then copy and paste that one. And we can even reduce the size of this one, kinda scale it back a little bit. Let's bring it down like that. Again, just to show a little bit of design work. Now, of course, making sure we have this color selected along with the line details. I'm going to come back here to the arm details layer. Select everything and make sure that both is selected for my Create Shape Options, and then create the shape. So now we have some shapes that look like this and they're hanging out on the outside of the arm. Of course we can fix that with masking. So with front arm details selected, holding Shift and click on front arm, right-click and then group with selection. We can rename this one, then two front arm and then hit Enter. Double-click on front arm. Go to masking, and then choose to hide all. And then click Okay. Of course this solves part of the problem, but you'll need to go to front arm to exclude the strokes. So go to masking and then come down here to exclude your strokes. And then click okay. And that's looking pretty good. So it's gonna move this a little bit. The arm looks a little bit bent up there, so I'm just going to turn it just it other than that, everything is looking good. So we now have the details for the arm in place. And in fact we have the details for all the body parts now in place. The main goal from here is to add in some highlights and shading. Of course, put in the back limbs and then do any final polishing such as looking over the line widths and making sure everything's in line. And then we are done. So I'm going to pause here and up next, we're going to jump over to that next step.