Transcripts
1. Creatures Introduction: Hey guys, I'm Ed for Chuck and welcome to my how to draw a creatures course. Actually, I guess it's a bit more than creatures at this point, it's expanded from creatures, monsters, that Legends, aliens, and even dinosaurs. I've got everything thrown into this course. You can join me as I break down some simple structures like the anatomy of different animals and help extrapolate that into creating some of our coolest creatures of fantasy and lower. You can also see how I take just the strangers of concepts and roll with it to create all of your fantasy characters. Heck, I even break out some old textbooks and some references and from movies when I tackle all of our favorite dinosaurs, everything from the T-Rex to the Pteranodon. I've got them all. But guys, fair warning. When it comes to this course, there is a little bit of prerequisites and involved. I highly suggest you take my how to draw anatomy. It'll really help you, at least the simplified skeleton unit will really help you in progressing through this because there's a lot of basic human form in a lot of these creatures. Okay, so even though we can look at something like the Zombie, yeah, it's human with a twist, right? We've got all the creatures like the Centaur and the Minotaur and all those type of things that are based on the human model as well. I want you to take a quick second and look at my how to draw animals course. That course, I've got one unit called paws, claws, talons, and hooves. And it will really help you in working through those digits of these creatures, right? Just like how when we're drawing the human form, the hand is important. Same. We want to learn how to draw clause for creatures. Okay guys? And while you're following along with this course, not just the video units, but I've got a bunch of downloadable files that you can copy along beside me. So as I'm drawing your drawing two guys, this isn't totally begin this course, but it could be so long as you take a little bit extra effort and a little bit of creativity in your head. You're going to enjoy this course. So are you ready to start creating some monsters, creatures with me? Let's get to it.
2. Drawing the Minotaur: Hey guys, Edward shock here. And in this unit for creatures, we're getting into the Minotaur, the mythical beast, right? Half man, half bull type of thing, right? You ready? Let's get to it. In this unit we're going to tackle the Minotaur. Yeah, that sounds pretty cool. But what is it basically? It's a bull's head on a dude's body, right? I say a dude because I don't think I've ever seen it on a female body, but I guess you can pull that off if you really want to. But yeah. So hopefully in this unit, we're going to focus a lot on the bull's head. We're going to look for references for it. I've found a 3D reference here that you might find kind of interesting. You could freeze, frame it, practice it in that kinda stuff, right? I want to focus on the bull's head a little bit because it's not something that we have readily available in most households, right? It's a little rare to have it around you, right? The other thing is, the reason I'm not focusing on the human body as much as a bull's head is because I'm including in this course a simplified skeleton for anatomy. Okay? If you're understanding human physique, you should be able to kinda work your way through this. If you're not comfortable with human anatomy as a whole, I really suggest taking a look at my anatomy course. You know, it's on the same platform you've got this course on and stuff, right? So it's there. But I don't think it's necessary. What I really want you to do in this one is we're going to look at the simplified skeleton for the Minotaur and then focus on the bull's head. Okay, so look in this course because I've actually included a bonus unit for you of the humans simplified skeleton. So hopefully that helps and put you on the right track. If you want to get into more detail, like I said, I've got another course for it. But I think the simplified skeleton is going to do us really well for this Minotaur. Okay, so what do we do here? Well, we can find some landmarks right? Here's a shoulder line. Here's the top of the headline, little bit there and stuff right here is a chest, abdomen, crotch, in this case, knees and ankles. Now, this is interesting because what I've done here is I've used an image that's much taller from crotch to tip of the head than it is from crouched down to he or whatever and stuff, right? You can see this one's 123, let's say foreheads tall, and this one's one to 2.5. Maybe you're something I've done that purposely. I wanted to have a hulking physique up top and shorter legs. Leader in this unit, we're going to talk a little bit more in depth about variations of lakes. Sometimes I've seen Minotaur is with a bit of a human leg. Ok. And other times we've seen it with more behalf. All right. So let's see what we can get first, right? Let's practice our little human anatomy. We've got a kind of a center line going down here. We're going to work on that Chevron, pretty wide chevron here. We're going to work on the hips. We're going to work from the hips down to the knee, down to the ankle, and then out into a simplified foot. Okay. The shoulder is going to be really wide here. It's going to come down to the elbow, it come down to the wrist. And then we've got these big mitten hands and stuff, right? Okay. So if I wanted to repeat just this simplified skeleton, hoping you're doing it along with me, but just in case you're not, we'll go through it together here. We'll put in, you know, here's the head, here's the chin part, here's the crotch. Torso was going to come most of the way. It's going to be pretty wide for the shoulders, right? We're going to have the hips here with a little kinda Superman underwear line, right? Okay. We're going to come down to the knees, which are around here. I'm going to come down to the ankles and then out to these relatively large feet. These arms, if you notice, usually on the average human physique, if anything, this crutch will be a little bit higher or the wrist breaks at around this crotch level. That's not what's happening here. The wrist is breaking. Hi on it. And so that shortens up the elbow as well. So these arms are actually a little shorter and then enlarged hands? Right? Okay. Does that make sense? Not bad. Now let's do it on the slight turn, see if we could find it, will just come down the middle here. Find our chevron roughly comes to about the belly button, but it's not firm on that. Find the underwear line down to this knee, down to the ankle, simplified feet, right? Big shoulder. Draw through this shoulder. It's hidden. Come down to the elbow, wrist and big meaty hands. Elbow, wrist and big meaty hands. All right. I'm not going to draw it here. I want you guys to draw it on this side here. Okay, I think it's important for you to do that. Now, let's take a moment and take a look at this bull's head out. He gave you the 3D render a little bit, right? But this is what I captured it from, right? So what I wanna do with the bull's head is two things. I'm going to have this main part of the head and then this shoulder hump. Okay, and this is going to make sense if we do it from different angles two. And then this will come into the traps. The traps are kinda coming over here right? Now, this main part of the head, then we're going to come forward and have the snout. Okay. Let's see if we can catch this from this angle. We're going to have this main part of the head. We're going to have, you know, this kinda snout that comes forward. And then we're going to have this, this larger part 0 back out for you so you can see them both at the same time. There's larger part behind. And then we're going to have very large traps, the trapezius that have to carry that. You want to have traps that have to carry this massive hit. If you've got all this on some skinny, itty-bitty little neck. You know, it's going to look awkward and it looks like it's going to snap off, right? So you can have folds here and then the traps coming out here, coming into the delts and stuff, It's going to look quite massive, right? Let's see if I start to draw this in with a bit of a black line here. So we'll use this to start off with a bit of a mouth here. Good enough. Come in to the, the head part right into the cheekbone. We can actually fold it a lot of the circles that we've got here, right? This neck is coming below and actually this neck, we're going to use this kinda Zhao will hang as a bit of a landmark. I want it to start at the middle of the chest here and kinda work its way. Okay, so it's gonna come up here. We're going to have folds and we're going to have this part come across, come up, going to have this part. We can have these floppy ears right? Coming up higher. I like to have a bigger brow. If I was to put a big brow on this guy, some, some brow in here, right? And we're going to have this big hump coming over top here. And then however big we want the horns, you know, we can have them much, much larger coming in, right? Something along those lines, right? And then of course, the eyes. Cool. Does that make sense? All right. Have the nostrils here and stuff. Okay. So how would we do that over on this side using this big hump? Well, you know, we've still got I want to put that big brown here that I put on the other one, right? I'm going to come here, have big chin. Like I said, I wanted this this part, the chin and then that hanging part to come in here. I want to have it so it naturally flows into the human physique. You got to look at how you're going to attach some of these things. If you're linking up kind of animal, we're beast type thing it, attaching it to the human. Where does it make sense to link them up? And so you're going to look at landmarks. So a center point landmark on the chest. If I've got the delt coming here, right, it's coming up. And I've got the chest. Okay. You can go with the center line and the chest and that's where you can attach that hanging Joel thing, right. Okay. So we can have this ear coming out here, right? I'm going to have the eye underneath here. Give them a little bit of a cheek bone, having it that. Now, how are we going to do this part? We've got this part of the head, but then we've got this bump, right? Then we've got the traps going into it. So we're going to keep the musculature of the traps. They'll start somewhere around this deltoid and then this hump, we'll come over here. And then what did we do? We gave them much larger horns, right? So we can come in here, loop it around, right? Have this come in. Even though this is on the other side, it'll make a lot of sense, right? What do we think? Not bad. There we go. So if we back it away there, now, what looked like a disjointed like What's he doing here, you know, it just looks copy paste and stuff like that. Now is making a hell of a lot of sense, right? We've learned how to merge these two beasts together into one. And so, you know what, I've got as traps up really high on this. I think I might even change this and have the traps even higher, bringing up that high, right? I think that's, that'll give even more stability. Now this thing looks like if it was to charge at us, you know, he's got this trap. We could kinda think of it almost at the eye level, right? These traps are high and he's ready to bulldoze through something, right. And then we've got the chest here. Chest on this side, right? Chest deltoid out here. Maybe the collarbone, the trap inserting in here, something along these lines. And then you can draw the rest of the anatomy and not bad looking. He's looking pretty stacked, right? I like it. Okay. But what do we do if we want to add that kinda hoof, look into it, right? How are we gonna do that? Well, you know, in this course I've included a bonus feature about paws, claws, talons and hubs and stuff. That'll show you a little bit about it. But really what you have to understand is the different joints, the appearance of how the leg forms a little bit different. So normally what we have here is we've got we've got our hips right. And we've got the top upper leg coming down to the knee, comes down to the ankle and then out into the foot. Right? That's how it generated looks and it's really similar to when we're dealing with a hoofed foot. Only. There is a slight difference. So we're gonna go with the same thing. We're going to come up here, come down to the knee, come down to the ankle. But then the foot, just like ours is divided into sections. Here's the heel and stuff like that, right? What happens here is when it comes down to the ankle, it then comes down to the hoof. Okay. So you can imagine that this part is part of how we would look at this part of the foot, right? We could think of this as a bit of an ankle or something like that, right? And then this part comes down to the hoof, which in human terms, we can kind of think of it as the ball of the foot and the toes type of thing. See if that makes sense, right? So if we're going to draw the hips in here, and we've got his little butt cheeks here, right? The insertion of the hip come down to the knee. But then when we're coming down like bring it down to this knee as well here, right? When we're coming down this way, what we would do is maybe come somewhere out here. This would be where the ankle slash heel is and stuff I get sometimes there's actually even a little bone spur that comes off back here. Okay. And then it comes forward and comes out into the hip, are absorbed into the Hough, comes forward and comes out into the hoof. Okay. So you get this big quad going on are big upper thigh and all that kinda stuff, right? We got the, but we've got this. And then you could think of this kind of as the calf, you know, the shin, that type of thing. You could still kinda think of these as a little bit of the same structure. But then when it comes into this lower part, think of it almost like a foot, but it gets all weird and stuff. And that's the really big difference, right? We come down here, we've got this giant hoof. Okay, see if that makes sense. Actually, that looks pretty good. That's generally how it would be. And then from the top here, we've got our chevron, right? With a bit of the back showing. We've got these massive shoulders we put on them and stuff like that. And of course, we can rough this in. We're going to rough this part in behind. Going to rough the muzzle in right down to the elbow, down to the wrist, down to the elbow, to the wrist, right? So these traps will be quite large here. Okay. And they're going to come up to this bump. What do you say that you want to draw that in just a little bit. Especially if it might help you being able to see it from behind here, see if I draw it in from behind. So these traps are big, right? They're going to come down the center, center line here. There's a bit of a divide here. They're going to come up. This one's going to fold over, come in and stuff, right. Okay. Then we're going to have this big hump coming this way. We can kind of follow this hump here. And, you know, it's, it's kinda folding over. Here's the delt coming in here, okay. Medial delt, anterior, posterior down there, right? And then we can add the little ear, the towel here, out to the muscle down. This thing is going to come down to the chest, right? Okay. We had a big brow on this guy in the other versions and stuff, right? Maybe even something like that. And what was it a bigger horn, right? Something along these lines. Here we go. That makes a lot more sense, right? Here's the elbow. The forums coming in here. Bracket Alice, bicep, bit of the ribcage and then the belly depending on how big we want that right. Coming down here. Do we want to give them, but sure. Why not give them a little bit about here, right? And then this is where we're going to switch up there. We're going to have the NI here, right? Okay. Then we're going to switch up, put this big calf coming out this way. Actually, I think that knee needs to be bumped in just to it's more around that side. So something along those lines, right. Have the calf coming in this way, right? And you can add texture of for depending on the characteristics of the animal, right? Have this coming down here. Out to the hoof, maybe some texturing in the hoof. Right. If you want, you can bulge it out just a little bit as it wraps around almost like a cuticle or fingernail or something like that. Right? And that looks pretty cool. Right? Does that make sense? So we can do the same on this side, this other cheek here, down to here, big calf out into this kinda stem of a heel a little bit. This one's coming off and a bit of a different angle though. We're looking at it from behind a little bit, right? There we go. Cool. Okay, so that's a way to add hooves to the Minotaur character if you wanted, right? We can see how that would be pretty cool looking right? A little bit tougher to do from the front, but you know what? Why don't I do that for you here? I'm going to see if I can show you a little bit of how it looks from the front and see if that helps you. You know, sometimes it takes a little bit of practicing this this I don't want to say animal leg, but a dog's leg, that's often how it's described. Right. So let's see if we can figure it out there. We're going to use this as the base, right? But, so up until this point, I'd say it's almost pretty much the same. We've got this huge quad coming in here, right? We're all good for that. But then it kinda goes back, right? Remember, it juts back instead of coming straight down. Okay. So if anything, what happens is, you know, this part of the upper leg is a little bit forward, right. It comes down into the knee. But then we've got the calf looks like it's up higher. It's not it's actually angle it a little bit different and so it's angling down this way, right? Then it comes to this the kind of guess what we could call what would that the ankle joint maybe or something like that. Right. And then then it comes back forward and comes into the hoof. Okay. Now you can split the hoof if you want. You could do that type of thing. You can give it a kinda a bit of a TO feature or something depending on how you want to do it. You know, you're going to add hair main, main G0, hanging hair off of the Minotaur is calf. You can really texture thing up. It's really, we don't have this animal anywhere, right? So we're kinda just basing it off of what we think are or what it might have looked like or something. So I'm going to add in some type of towel here and a bit of a belt just because I don't really want to go draw his crotch right now. We'll do the quad on this side. Right? But then we're going to bring it back. Right? Instead of having it straight down like this, we're going to bring it back down and into the hoof. So let's see if we can do that with a bit of a better line here, right? So this is still going to be the calf. And this is, you can imagine this as the shin. The calf will come here and then we have that little bit of a bone thing. Right? Depending on how how firm or how thick we want a thick in this leg up. You can kinda come like this, right? We can have that split. We can have that toe if we want. We can have the bulge over top of this. We're going to have hanging hair, all that kinda stuff. Right? Okay. So that's the calf. And see, we'll back it a little bit. Here we go. Yeah. These are really looking like minute tours, right? What I wanna do for the rest of this, because I've already shown you how to work on the basic frame, right? How to rough in the traps and all that kinda stuff. I want to make sure that you are going through it and feeling confident with some extra practice here. So, you know, instead of just a couple minutes, I've given you six here. I think it would be really good if now what you did was start to come in here. Ra felt that skeleton. Right? Now what I'm going to even erase this stuff here just in case you even want to work on this particular sheet. There we go. Work on this skeleton here. And then, so you're going to work on this guy here, right? You're going to work on the head, that extra bulge, the big hump, basically write the big traps coming in over here, right? Okay. You're going to work on the basic flow of the skeleton. And you're gonna do the exact same thing right beside. I want you to draw it once and then repeat it a second time off to the side here. Okay? That's really what this comes down to is a lot of practice, right? You're just repeating yourself, trying to see it from different angles, all that kinda stuff, right? You're gonna do that with this guy here. This one's a different angle. This one's looking up a little bit, but still, how would we imagine it? We know that the traps would be here, right? This bulge would be here. We're starting to draw through. The head would probably be here, you know, obviously the muzzle and stuff like that, right? You'd start to draw through this stuff. You start to look at those landmarks, right? You know that even if you're gonna do the the the hoofed the who've been proven leg that you would still be coming back, still becoming here. Now you can maybe do the bottom part of the hoof here. Jerry mean like if if you're wanting to show that part, right, you can do a little bit of seeing how this would work. Coming back this way. The calf up here, going back that away, that type of thing. Right. Okay. So it's a little bit of a harder angle because we're looking up at it here. But I want you to challenge yourself a little bit and then you repeat it again right next to here, right? The only thing that I really thought this one would be cool for is this hunched over look, okay. So I want to have this big bulge back here. I want to have the head here, it's coming forward on us. And I want to have the traps, the trapezius here, right? We want to make them really big. All right? Okay, so you start to fill in the details. Then we've got the delta out here, we've got the chest coming here. We know that even though we're going to keep this thing constant rate that kinda Zhao will hang or whatever, right? Okay. So I want to see if you can do that. Roughing in some of these key points for you. Here would be maybe the hoof. Here's the hoof, maybe something like that. Right. You can make it as big or as small as you want. It depends. I like huge hands, huge roof. So I would actually probably enlarge these hands and kinda hook them out and stuff I got right. Huge traps, huge hands, huge ofs. That would be my Minotaur. Yeah. So there you go. Make these horns just a little bit bigger and stuff. But I think right now we're at a really good place where where you've got a lot of room to practice. And I think if you keep working on this Minotaur, sketching in oat, working on the anatomy and stuff like that. Working especially focused on where it ties in between what would be the bowl and what would be the human. It's going to look pretty boss, right? You can see how I've finished it up that this looks pretty cool, right? It looks like how you would envision a Minotaur in fantasy novels or something, right? And that's pretty much what this is supposed to be. A boat, a boat being able to pull off a fantasy creature, right? You can imagine how people in the old days, that's how they dreamed this up right there. Like forget, I'm going to put together I'm big old dude enough that bull's head, right? And this is what we got, right? Okay guys, the name of the game for this particular unit, especially because I've left you lots of extra room on the worksheets and stuff is practicing. I want you to practice that. The bent up leg, ok. And practice the bull's head and how it would adapt and join onto a human body. Okay, Have fun with it and catch in the next unit.
3. Drawing Gogmagog Ogre: Hey guys, In this unit, we're going to talk about God, kind of an auger, big lumbering type, right? So we're going to work on our human form a little bit more and see if we can blow out some proportions to see how we can really encapsulate this old Irish fellow. Let's get to it. Yeah. Guessing a lot of you have never heard that name before. It's an old legend about basically a troll or ogre, right? So that's what we're going to work on. We're gonna work on kinda trolls and ogres here. Okay? So once again, we're going to start off with our classic eight heads high muscular type dude physique rate. And listen, I hope by now you're really comfortable with drawing an average, bisecting it and stuff I get cutting in half. Here's a head, Here's the nipple line, Here's the naval line down here to the knee, you know, that kind of thing, right? So when we start to get into drawing the, the ogre here, right? It's going to, we're going to vary it a lot. All right? Okay. All right, so let's see. We've got this average physique here. How are we going to do this? Let's make it the same height because you know what the height scales and stuff I get. So I'm really not worried about that. Worried about just the proportions within this, right? What I like to do is drop the halfway mark. I like to have these guys with generally shorter legs and a large hulking torso. Okay. The other thing I'm gonna do is maybe keep the head around somewhere on the same. I might get a little bit smaller, right? The hips will be similar. But I want to take out the neck. So here's one of the changes. I wanna kinda remove the neck and have the Chevron much larger. And we'll put the shoulders on the on the end here. Okay. You know, part of removing the neck, of course, he's got a little bit of a neck, but I really wanted kinda pulled into this tight, hulking look of a body. All right. We can put simplified feet down here for now. Coming off of this part of the hip, right? And then a knee about midway. Another key change that I want is the hands. Now these hands would line up somewhere like this, but I really want the hands to be maybe somewhere around the knee length. Okay. And we can have instead of going in the middle of the arm, we can have the elbow break a little bit high. Right. Okay. So we've got what looks to be some type of ogre, right? This thing is kind of a hulking looking, right? Let's see if we could turn it around with some of those same dimensions and stuff, right? We're going to pull this across, pull this across, and do this character turnover. Remember we said a big head. We said the torso milk will come down. So we'll have something like this. I'm the hulking. This is a three-quarter turn, right. So we've kinda got it this way. The shoulders will come through a little bit. Maybe I'll make the hip a little bit bigger. It doesn't have to be so narrow out into the feet down into here. Okay. There we go. And we've got what could be the head up here. Okay. And where did I say the hands go to? The hands came down to almost about the need level, right. So here would be one hand, here would be the other one coming through. And I said the elbows are going to be kind of high up, right. Okay. So there's our quarter turn guy, right? And fully from the side, you'd see all these proportions really changed the look of this character, right? We said little bit of a small head, but the massive torso, right? We use that kinda Chevron from the side. Here's a big old shoulder, right? This will come down into what could be a very large foot, the knee. This arm will come down into a very big hand, something like this. And there we go. Now we've turned it around, okay. So we want to be clear on this. The main thing is getting rid of the neck, expanding the torso, shortening the legs, and lengthening the arms while keeping the, maybe the upper arm a little short. This will give that real whole king type of look, right? Okay, so let's see, we're going to draw this off to the side now, let's give it a little bit of a sweep to it, right here and down to here. Now, usually we went halfway, but instead, the crotch would be about here. The head would be up here. Alright. We'll have this part here. Roughing in the shoulders and want to have a big, um, kinda thrusting his hips here. And because I'm going to have this leg come out this way and this way come out this way. This one can go here and down. Maybe this one could come over. And now holding some type of club or something like that. And this will come forward and then the head can maybe becoming forward here. Okay, maybe I want this down more so like this. All right. Now we've got to come in and start adding in some details. What are the details of this old we're going to be well, anatomy wise, still some similar things, right? You know, I'm gonna come in here and draw collarbone and I'm just sketching this out right now. But I'm going to come in and draw the chest, something like this, right up into the shoulder here. So you can see like the nipple would be off to the side here or whatever. All right. I want to put a bit of a belly on them. So I'm going to throw some weight in here and stuff. The obliques here, I'm going to hang and it comes back into there. Okay. So you know, if I was to do this middle circumference line has belly button would be somewhere around there. And thus the kinda hanging chest. Right. So he's looking obese, that kinda stuff, right? I don't think I want to draw as junk. So instead, I'll put some type of band here with a simple loin cloth or whatever. And the band is wrapping around what would be his waist type of thing. Right. It's Let's wrap it around this way and stuff. Okay. I don't think that where a lot of clothes, generally speaking, I think they might have plates of armor somewhere, not even armor like usually the leather armor and what I've seen in depictions for the hand. So we're going to have a very large form coming out into this elbow, right. And then this hand, I just wanna kinda rough it in right now. It's going to be really large. Here is 1234, the four knuckles. And I want the fingers. I'm just going to rough out where I might have those kind of digits or something like that. I want them to be fat. So with this one, I want to emphasize the knuckles and the ends and stuff. Okay? So if I come in here, you know, this knuckle would be really emphasized, right? And it would pull down into the hand. Okay. This one would wrap around this big joint here and then come out to this one, right? We're wrapping these joints, making them up here. Huge trim tool and then something like this with some really gnarly finger nails all beaten, chewed up or something like that, barely hanging on that type of thing. So yeah, when you're drawing a character like this, try to make sure you make it nasty and gnarly as you can type. Because that's how I picture them. You know, they're hanging out. I I've got the book, The Hobbit in mind, where these guys are hanging around in the forest. And they're all just dumb. Wanting to eat some little soft hobbit sees. Maybe I'll wrap this one behind or something. Okay. So the thumb might come out this way or something along those lines. Cool. So obviously this is really rough, but you can see how it's just hanging there. It looks all half mangled or just bony but media at the same time, if that makes sense. So I'll come up here rough in the shoulder using this nice outline that we've got going on here. Alright? Okay. The bicep will be here and the tricep and will come down in the back here. Maybe a bit of the back muscles, the lats will come in here, back into these obliques and then the belly. What I'll do is I'll emphasize this belly more as it hangs over whatever belt and stuff. And I start to add in more details. Okay, so I'm gonna come in below here and start to wrap the leg in. And then the glute, his butt is going to be peeking out behind here. All right. Now, when it comes to the feet, kinda just going to rough in the leg here on this one too. When it comes to the feet, I'm not I haven't quite decided like I think there's there's a lot of different ways to do this. I've seen them kinda who've seen them almost dry node like a three told Rhino or something like that. You know what? I think that's what I'm going to go for. These fantasy creatures. You can kinda do them however you want, right? Okay, so I'm gonna kinda rough in the, the three toes come in here and I want him to have a strong base. This is almost like a tree trunk grim. So it's going to come something like this. This, this'll be the nails and stuff and the toes kinda coming off of it. Right. And then it'll come up into the leg. Nice and stable. Maybe a bit of a slight ankle in there, something right from the side. I think what I'll do is I'll show one and show two. And then that'll come up right. Something along these lines. There we go. And the toenail goes in there. Toenail goes in there. And then a bit of the ankle there. The calf. The foot. Right. So is this making sense so far, you know, we want muscular but mangled. I think that's, that's the nicest way I could kinda describe how I would be approaching these guys and stuff, right? Muscular but mangled. And I realized like, he's kind of off balance right now. I think I would fix that a little bit by beefing up back here and in here and stuff. But I want him to have that awkward rookies. He's awkward, He's lanky, he's strange-looking, you know. So over here, I might have the fingertips wrapped around something. What did I do? I give him five, right? So hide that one. Here's another knuckle. So I might come in. Here's one here's the other knuckles, right? Wrapping around, wrapping around and there's the the fingernails wrapping around to some gnarly fingernails. Some gnarly fingernail? Yeah. I mean, as as it tapers out and then maybe have some awkwardly bent thumb here or something like that. Right. Because not really coordinated as he grips things or anything. And then I could have I don't know, some type of clubs sticking out. Right. But he's he's holding onto here maybe with some spikes, some protrusions coming off of it, right? Have the wood design going on. This is all really rough. If I was to finish it and stuff, you'd see maybe one or two more layers on this to really wrap it up. Okay, more of the palm. What did I say? Some gnarly forms right. Here we go. And then the bicep in here, little hint of the tricep. There we go. Okay, so this is a rough face without any textures yet or anything. This, sorry, this is a rough party without any textures. I accept. I guess maybe, you know, a little bit of detailing on the toenails and stuff. But now we're going to come into the face. How do we draw an all girls face? Well, again, since we've never seen one, we're kinda just guessing the one. The one thing that I would say is like I've seen as this kind of tusk looking mouth. So I'm gonna kinda draw in a jaw right now. You know, some pouty lips. And draw in these kind of gnarly tusk type things protruding from the bottom. Now whether I draw an upper lip or not, I don't know. I think I'll just kinda bring it up like this. And I couldn't like this look as if it's coming up to some kind of snout or something, right? We can bring it up to this note. This will come back into some type of jaw line here. Alright? Okay. Now for the upper portion here, I think what I would do is bring the brow, something along these lines. Have the brow coming over here. And then have, you know, have the brow protruding on this end, right? Have it come in and maybe something like that. Alright. So what is this showing? This is showing like massive tusks for lower teeth. And some type of I, you know, I'm kinda got this one with a sleepy I it's it's been hanging so I can pretend there's some type of scar here I could fix it to if I want, but kind of like it that way. Okay. So this is going to come around. Maybe I'll give it another bump to the head. And then maybe some tiny some tiny ear. I think they've got tiny little ears coming around back. Now how do I connect this floating head? Well, he's going to have some kind of neck just a little bit. Not much though. So here's the center line. This is where the corners of the neck would come in the tendons and stuff, right? So we're going to bring this band in. But then I'm also going to rough out these traps and stuff, right? I want this coming here and looking monstrous. Okay. Yeah, he's looking about how I kind of envision them. Ugly ganglia, but still kinda cool looking right now when it comes to any other details on them, what I usually do is in the next stage, when I'm doing my, my final lines all start to add some patterns, some skin texturing or something like that. Like a little bit like a rhino skin, do you I mean, Like there'll be some cross patterns to give it that the toughness of a rhino's hide or something, Do you know? I mean, it doesn't have to be everywhere, but in enough places that it looks like it would be a tough animals hide or something. You can wrap it around the circumference of whatever it is right. On the muscle group or whatever. Right. So you can go through I'm not going to go through the whole thing because I think you're kind of getting the point. You can, like I said, you just add these interesting texture lines and it'll give that, that kinda hard skin feeling to it, right? Another thing that I do is not just like random circles and spots, right? But almost boils. I'll put like some pustules and stuff because I keep thinking like these guys, they don't take care of their bodies, right? So it'll be a bump or a be a big boil with some some, you know, inflammation around it or something like that. You can put some veins. I might have some veins coming at this point or something, but really not that much. It's interesting. You don't want to have have them look defined or anything like that. You know, you can have some veins and the forms may be because it gives a kind of gnarly look to it, right? Okay, So you can outline a few veins in the forums. But really you want it looking like somebody's been living in the garbage for awhile or something. Okay. You can have some old wounds. Some scar is a kind of flow, right? Something along those lines. But yeah, that's what you wanna do is add a bunch of details to it. Like I said, you could put some texturing in these fingernails or toenails and stuff, right? Start to add a break them off. They shouldn't be beautiful. No, no manicures under that bridge. Right. Okay. I think that's where we're going to leave it. If you want to, what you could do next would be coming in and adding a little bit of leather type of of wrap or something like that at different points. Some type of armor that maybe hangs on them. Obviously they're not going to clothe themselves very well. But you can have some some stuff hanging on these guys, right? So they as if they tied it up but then it just kinda hangs down. They don't they don't know how how to keep it tied or something, you know, it just kind of hanging off of them. So wrapping around a wrist, that type of thing. Right. There we go. And it looks good to have some stuff hanging off them and everything, right. If your gonna put any clothes on them, I would say keep it super basic. Keep, you know, keep it ugly. Keep it as if it was put on by something with a very low IQ that's extremely dirty. Okay, so that's our gaga, gaga, basically some type of ogre, right? Pushing those normal human proportions away from anything that could be considered athletic or at all beautiful, into something that's really twisted and ugly and disproportioned and awkward. And living under the bridge near you. I hope you come up with some creations on your own. They don't have to look like this guy. This is kinda my vision of him and stuff. I guy, right? Maybe you, you imagine them with huge noses. I've seen that before, right? These kind of monstrous noses and almost comical looking and stuff, right? That's cool too. You find what you think suits the character you're trying to create, okay? Suits the villain in your story or something. Or maybe this is a good guy. You never know, right? Either way, keep practicing and then show me what you got.
4. Drawing the Griffin: Hey guys, in this unit for creatures, we're going to talk about the grill kind of lie in legal hybrid, right? So you're going to have to be comfortable with birds, comfortable with beets, or mash them together. And let's see what we come up with. Um, you know, it's kinda cool, but the Griffin, because we've seen it depicted in many different types of art form and stuff. I can't say I've ever seen one in real life, but I'm pretty sure I've seen him in movies and stuff. Right. And so what is a griffin? Well, it's kinda three quarters lion and one-quarter eagle, right? Basically, the mid to hindquarters are the lion and the wings and the head and a little bit of the front talons are going to be an eagle or egalite, right? So boy, What does that mean? Well, that means we're going to have to study lions and eagles, right? To try to understand some of the construction behind this, right? So let's get into it and see how this rolls in front of me here. I've got a little lineup of lions, right? And, uh, what I'm gonna do here is just look at some of the structures, especially focusing on their hindquarters. Okay. But also I want to look at the bulk of their main ribcage here. So we've got the ribcage here. This is going to be important because we're going to use this as part of the structure. And we've got what's called the scapula. It's, it's it's basically the shoulder blades is how you can think of them right? Then we've got the hip back here. We've got this backbone going over top, leading down to a tail. Then we've got these legs. Now when we're talking about cats legs, dogs legs, a lot of these things will have this specific joint to them. Okay. So we'll come from the hip base, right? The hip on this side, it comes out to here. Here's the first joint. You can think of it like a knee. Second joint. This is where it's gonna get strange. You could think of it like a heel down to the bottom joint where leads out to the paws. Now I'm hoping that you've taken the time to look at the bonus unit that I've included that talks about Clause pause and talents, that kinda stuff, right? Because that'll go a lot more in depth. So for right now we're just going to look at this basic structure. Here's the hip joint comes down to what we could call the knee, comes down to what we could call a heel. But really isn't into the base of what humans would think of as a foot and then the actual foot that lands. Okay, so we've got this for the line, right? This main structure here, which would basically be the ribs with the scapula on the back here, the shoulder blades, right? The backbone that leads off into the tail. If we want to off of the scapula, we could have it come down into the fund lakes, right. So it will come down down, down and into the front legs. This one will be down, down into the front paws, right? Okay. So we can practices from a few different angles just to make sure we've kind of got it. We can see how it's here and then the hip is behind. So why don't we draw the rib-cage, front-and-center type of thing, right? And then the hip behind. Right. Then we're going to see how this leg comes down. It goes back. Imagine that it's coming forward, then going back, right? Okay, so it comes forward, goes back, and then comes down into the Paul. We could do it on the same one here, forward, slightly back, and then down into the Paul. Okay. We've got our shoulder blades or scapular. Here, comes down, down and into the Paul, right? We wanna do this here again. I'm hoping that you're following along with me here, right? There's there's going to be different kind of versions of this works, worksheet where you can draw on it without my scribbles or anything like that, right? And so that should help you a lot, okay. And then this next one is moving behind here. Something like that. Okay, so right now it's looking kinda funny. We've got this. Here's the center line for this guy here. And the tail is going to come down off the center line and come down this way, right? But you can see the bulk. This one's going to be up front for us, right? This is going to be this leg, this hopes way. That's the hind leg there. This is going to be the front section here, right? With this shoulder and then the head wherever it's going to be, whatever head is going to be somewhere up front here, right? We can look at it here too. We've got here. Let's see if we can spot it here, right. This leg is eventually going to come down to here. This leg is eventually going to come down to here. But we can kind of look at how these, these joints play into it. This comes back and then comes down. Okay. This one comes down this way, comes back and then comes down and plants, like I said, in that unit to that special bonus unit, it'll help you a lot for getting those pause and claws down and stuff, right? Okay, so here's the central line of this one. This one's kind of coming along this way and then coming around behind and coming back, right? But the center, it starts to turn towards us. Imagine a ball and starting to turn its center line towards us. These front legs are going to be coming back, front, forward, and then back and down. Right. Okay. Obviously I'm not putting in the head and right now I'm trying to teach you guys how to work this body for the lion, right? So I hope you can trace over it a few times, you know, use this reference guide and stuff like that and then get used to drawing these basic shapes, these basic ovals and everything to try to the center lines and the basic thickness to it, right? Because what you wanna do when you're using these shapes is be able to have some substance to your form, right? So that they're not reading like just flat two-dimensional objects, but they have some form to them. Okay, We're going on to the eagle. Two things, maybe three things I want to talk about the eagle. First one we'll look at just a little bit here on this guy is the talents, okay? So usually, you know, you've got this big meaty part of the leg here, which is basically just a bone underneath array. It's going to come to this point to what we could call as a risk type of thing. And then it's going to splay out. In this case, it's got three in the front and one in the back. Three in the front, and one in the back. Okay. And whenever if you again, referring back to that talons unit, it'll hope you to place the knuckles, okay, So really, before you get to foreign talents into this, you get, make sure you take a look at that talents. Okay? Next thing I want to take a look at and talk about here though, is really the wings. Okay? So you can see, here's basically the scapula, okay? It's gonna come down here off the scapula, the humerus come up through here, it's the radius and then kind of expand out into what could be thought of as a handy little bit, but really So plays out into feathers and stuff, right? Okay, so let's see if we could find this. We know that the scapula is going to be somewhere along this part of it, right on either side. So again, think of shoulder blades, think of it's on the back of this, of this form of this bird, right? Okay, so it's got this part. It comes out to this first section, comes out to the next section, and then comes out here again. And so this part here is this part here, the metacarpals. And then it'll fan out to whatever feathers are coming from there. So at this point, a point of fanning and then it kinda comes more straight off of here and stuff. And then you'll find a smaller network of feathers coming down there, right? So basically what I want you to do is think of the shoulder blade 0.1 to fan out, one to fan out, and then it'll, it'll fan this way and stuff. Okay, and come on back. Is that cool? So let's go, go back here and see if we can catch that. We know that there's a blade here and going to be a blade here, 1, 2, and then fan out, okay, this one's going to be a tougher 12 and then it's splayed out this way. Does that make sense? All right. So you can practice that, you know, setup a parish shoulder blades and think of one to splay out. One to splay out, right? And you could do it in a lot of different formations, obviously. Have, if you want to put an end point to it or something like that and say, okay, well I want to, I want to get from a to B. How am I going to do that? I can come up and say one to splay out. And when we put B over here and a, right, so I'm gonna go 12 and splay out, right? And that's how I can, you know, you can kind of plot which way your wings are going and stuff. Really what you want to keep doing is studying birds to see, you know, how their wings move in, in a, in a certain pattern. When they're moving in certain directions, right? Like if if they're if they're flying up, if they're powering through a move, if they're diving down and stuff like that, you want to practice a lot of birds and stuff, okay? So the wings is the main thing I want you looking at here. Next thing is the head. Because when we're drawing a graph and we're going to use a fundamental bird's head. Now it's a little bit of an egg shape, a little bit of eagle shape here and stuff like that, right? Not perfectly. You don't have to draw it. A beautiful egg shape or anything like that, right? But realize that, yeah, it's in this kind of basic oval form, okay? And you can see actually this one probably goes along here more and we've got a little bit of a center line with birds. They've got their eyes on the side of their head more. Okay, So even though I've got a center line here, even though I might see a bit of the center of this beak or something like that. For an example, I'm not going to see the other eye on the other side here, anything right? So with, with a human, if even if I'm on the center here, I might be able to see one eye here and one eye off to the side here or something, right? Depending on the design I'm going for or whatever, right? With eagles, because in birds generally and fish, right? These, these eyes that are on the side really don't allow for that. They're there so far back and stuff that unless they're looking straight at you, you won't usually see like look at this guy, he's turning a little bit, hit his center lines a little bit off. We're not seeing both eyes. Let's see if this other eagle shows it at all. Yeah, a little bit off-center. Like I said, when you, when an eagle is looking directly at you or a bird or whatever, then you see both eyes. But if it's just a little bit off of that center, you know, if it's if it's angled just a little bit, those eyes disappear really quick and stuff, right? Okay, so we've got an eye line that's pretty high up. Alright, so we can do this down here. We can put this oval and right, we can put this eye line that's pretty high up. I can have my center line here if I want, write. The, in this case, the Eagles Eyes very round when it comes to a Griffin though, what we'll often do is put a big, a bigger brow over it or something like that. And kinda it condenses the eye and a little bit right from about this eyeline though comes the beak. And the beak, depending on how you want to draw it, can be larger, rounder, more hooked, more dangerous looking, whatever. But realize that the beak will actually come back. And it's almost the mouth opens up just underneath the eye and stuff, right. Okay. Then you want to give a little bit of nostril here for breathing and then, you know, feather plumage, all that kinda stuff on this side, right? The underside of the beak, again, depending on how you want to draw, it, will come in and more feathers underneath it. Now this is looking really ugly, but let's see if we can make it into something. Okay, so I'm gonna kinda sketch this out and see, you know, what a rough Griffin might be. I'm going to have the the main torso, right? I'm going to have the hip. I'm going to have I want to have one scapula here. Let's say the main torso is somewhere around here. So the scapula might be on the other side here, something like that, right? What do I want? I want maybe the backbone coming up this, this other side a little bit, alright, kinda drawing through it a little bit. And then the head will come and be somewhere in this area. Cool. So the wings, what am I gonna do? Comes out to and then down. Yeah, why don't we do that out too. And then folded down something along these lines. So we'll have this big splay of feathers here or something, right? These legs, what I like to do sometimes as plotting the feet. You've seen me do that up top there a little bit, right. So why don't I zoom in here just a little bit more so I can plot in the fetal little bit. Okay. And maybe another foot over here. I don't know. I haven't quite thought this through. I'm kinda just sticking things where I want to stick them right now. If this is the scapula, then maybe I'll have one arm comes straight down and have one claw the error, one talent, whatever, right? And then maybe one talent here, right? Okay, so what do I do? Here's one side of the hip, Here's the other side of the hip, right? Maybe I might angle this just a little bit. So bring this down, bring this up. This one can come forward, this is the main thigh. It could come back and then it can come back down. All right. This one can come forward underneath. This can be the main thigh here. It can come back and can come down. Okay, so now let's see where do I want to start? I'm going to start roughing some things in. I don't know if I'll go through this whole drawing with you, but I think going over the key points might be interesting for you. Here's that eyeline, right? And so what did I say? Actually, you know what, I think I want to change this and have it going, going down a little bit. All right. So all have that beak point coming off of here. Coming underneath, right? I'm going to have this big brow. Remember, I talked about with a Griffin, I might put, you know, so here's the eye, somewhere in here, something like that, right? But I want this bigger brow to be a part of this character and you can even I've seen them, they kinda have like this feathering going off of them and stuff, right? So you can have this kind of feathering going off the top, right? And of course then I would come in and erase this up or something like that. Right. Okay. So I got what I've got oh yeah, bottom of the beak here. And of course, this kinda comes up into it. This is the mouth, right? Comes into the feathers. And you know what? I am? Because I've got the chest here. I want to have this come down on either side, but this plumage is gonna go down the center line. So the central line would have followed it up, right? So it's going to come here and here. And then there's going to be the shoulder here. So maybe it'll come in and wrap around the shoulder kinda thing. And there we go. Okay. So there's there's the front line. Of the Griffin and the head a little bit, alright. And don't forget to put in the nostrils, right? Okay. So what's next? Let's see, maybe I'll back this up just a little bit. I think what I wanna do here is put the shoulder. We're going to have this shoulder here. Kinda draw in a little bit of a human type of look right now for a second here. It's going to be feathery actually. And it's going to come down to this elbow, right? So I'm going to kind of have it feathery free as it comes down to there because it's it's part bird, part lion or whatever. And then from behind this, I'm going to have this swoop up. And I want to have this part as big feathers coming in, right? And of course this is just rough right now. But you can kinda get the drift of where I'm roughing things in. Right. Okay. And then underneath the maybe a smaller row or something as it as it works its way out, right? All work in those details in the later lines. So on, on this backside, now I can rough in this neck a little bit, come out here. I've got the same thing and it's coming back. And then maybe I can have all wait because I want to put this wing back in behind, right. Okay. So looking not too bad. Oh, hey, I wanted to put if if this is going to be the front, the crotch kinda area, then I should put the tail. And the tail can be something like this or something, right? Sometimes I forget that. The tail on these guys, right? Okay, I'm going to zoom in just a little bit and maybe draw in this foot. It's got a Cat's foot. So there's going to be four to it, right? And it's going to have these tractable clause to it. Okay. This knee is going to be out front. This knee is going to be out front. And it's going to lead back into this part of the leg. And then I can kind of imagine that this part is going to come down into something like that, right? This is where the crotch is gonna go. Depends on on a lot of animals, they have a sheath. Penis sheath, I guess is the way to look at it, right? And then on this side, I'm going to bring this up and come underneath for for this part of the leg. Right. And it's going to come back, come down and come this way. There we go. And this one's going to come comes out this way, but it was kinda being blocked by the chest here, if that makes sense. Okay. So again, the sheath is here. Maybe I'll throw in some ribs here for a marker for the details later. Alright. Okay. Not that bad so far. All right. I think we're doing okay. I'm back here while I'm on his rear end, I might as well do a bit of the tail just to flesh out how it might want it more. You might come around and then I've seen them, they kind of splay out. I could even put little barbs on the end or something like that, right? Some type of design or something, right? Okay. So I'm working my way forward and I've got these claws put in, little retractable nails. I can have them out If I want him gripping onto something on the surface here. But right now I'm just kinda, you know, plotting out the basics, right? For this hand, what I'm gonna do is I'm going to do this bird's talons, right? But I'm going to, I wanted kind of like somewhat of an opposable thumb slash hand type of thing, right? So what I'm gonna do is I'm going to go 1, 2, 3 off of this side, and then four off the backend here. Okay, so I'll run my knuckles this way and run it kinda this way, right? And then have the claws coming in. And like I said, I go over this all in the in the talons, putting designs in here and stuff I get in the talents section and stuff right? Where to put all these knuckles and everything and stuff, right? And this one back here. Well, if I count here to here about halfway is going to be the elbow. So it'll be kind of free. Here's the body part, right? But here's that part. And then from here down is going to be down-going into again the other talon there. Alright, so I'm gonna do the same thing here. I'm going to maybe split 123 and then one off the back, right? So I'll put that knock off the back, give them something here, and then have it so that the, the Talen clause or biting in, right? And of course this is the pattern of the, of the story. The birds kinda nasty lakes. I always hate those birds lakes, right? Okay, so you can see how there's this rough version of griffin right now. I think he's looking pretty boss. He's got all the basic shapes that we've talked about and stuff like that. And I really hope you followed along with it, right? So now what we'll get into next is I'll do some of the finer lines and get into maybe even throwing some colors on it and stuff like that. And so you can see how it works out to be the finished version. Now, you know how you want to finish it, whether you're drawing it in pencil, crayons or markers or whatever it is you're doing. That's cool. I kinda leave that up to you for the rendering and everything. This one I wanted to focus on more of the, how we combine two really different animals and make them into a believable structure. Write a functional structure, something that we could see this creature moving. And whether it's taking flayed, whether it's perched on a rock or anything like that, right? Okay. So I hope the Griffin was interesting for you. I hope you had fun and I hope you learned something about Creature Anatomy. Even though they're not real. Keep practicing guys.
5. Drawing the Kraken: Hey guys, head here. And in this unit we're going to talk about the crack in the mythical CBs that seafarers feared for years, right? Kind of a squid octopus hybrid that all Giant. So we've got to have school and got those tentacles everywhere. So let's see how this works. I think the crack gets pretty cool. I like seeing the crack in. That's the cool thing about these mythical beast. I got cool, cool names to them, right? All right, so what is the crack in? Well, you know, usually when we're starting off with some type of creature that's been in mythology for awhile. You can look to some of the source material, in this case, Norse legends and stuff like that. For me, usually what I do is I hit Wikipedia. That's the first step, right? Kinda see an overall view of something, right? And then I start gathering visual references. In this case, there is no crack and I'm sorry to burst the bubble. At least not one that we found, but there is a lot of artistic interpretations of it, right? And so I grabbed a few of the net for us here to take a look at. And I think it's a good place to start. So what we're gonna do is just kind of look at some of the form. We can see that, you know, they're, they're kind of a cross between squid and octopus, right? And so we can kinda play with a little bit with the octopus. Usually you have this kind of head formation here and then this cone type cylinder going behind, okay? And this one's kinda got it. Same thing and then the cone goes behind. It's a little bit more rigid. Write on this guy's better drawn, drawing here, right? The reason I refer in this head is because then you can get kind of an eye line going on it, right? You can get a central line in an island and you can start to turn that, that central line and eyeline if you want to and have the cone going off in different directions or something like that, right? You know, it can start to see if it can bend just a little bit. I wouldn't do it too much though. Okay. In this case, the head is more of a almost armored form right at, seems to be cone-shaped and then the part behind it as massive. So they, they went off with more of a worm type of feeling to this, almost like a lunch or something, right? I'm not the biggest fan of this. You know, you've got the tentacles coming out of the mouth. I think that's kinda cool. I think that's a cool approach. But I kinda like this traditional one, right? So why don't we start with that. We'll go with the head just a little bit here and we'll do it from the side here. Okay. We'll have the, the main body behind. And then what we're going to do is choose kind of a, a ring around here where the tentacles start to come out. How many we want. Let's go with six for now, okay, We can go eight if we want. Six is easy. You know what? I think we got room for eight, okay, so we've got eight. Now, how do we want to design this, right? We've already got the form from the side here. Let's save the eyes are right here, right? And this is the center line going down here. This is where we start to make creative decisions, right? Are we going to have it a more armored form? Are we going to have it softer like an octopus and stuff? I'd like to get a little funky with it and do some combination of it. I was thinking of like kind of this kind of beak with kind of a ridging form. And then a ridge that kinda comes up the top here. And it comes back down this way. So it kind of splits and then comes this way and comes in. Okay, let's see if we can do that. And you know what, you can do yours wherever you want. That's the thing about this creature is that it's really, we don't have one, so you can't say That's wrong. You know, it, it it's not necessarily wrong. I like how they did the eyes is kinda like just a slit. You know. I like those slits. They look kind of cool, right? And then coming up from below this part here we're going to have these tentacles. And I want you to make them long enough that you can play with them, okay? Then you can do something interesting. Turn them around, twist them a little bit, okay, we'll practice how the tentacles can move and turn a little bit later. But right now this works out pretty well. Keep going with these tentacles here. Good stuff. I want more twisty on that one. There we go. Okay. Now, anything else that we want to add? Anything that we really enjoy on this just for the form, not for the details. You know what, looking at these other references, I've kinda like maybe some, some ridges going down the side, some more kinda armored feeling to it and stuff, right. Okay. And then it can kind of come over the eyes or something. So this is our form. We've got this big tube behind. And the head up front with tentacles right? Now let's say we want to turn it just a little bit, right? How are we going to do that? It's going to come towards us a little bit with the big two behind, right? We can draw through a little bit here, okay? And so our center line can be here. And then we can bring that beak down. The beak down here, right? We can draw on the eyes. And then we can draw this part here. Now remember, I wanted it to ridge a little bit or something, right? Okay. And then so now we can add some of the details that are coming off of it. And of course, roughing in the tentacles. Cool. And if it's coming straight at us, you know, we can have the head the main part of the head with the eyes and stuff. And we can just have the body kinda coming behind. The head is going to be maybe a little bit larger than we've had it before compared to the body, right? Things. The ridges start to fade off a little bit, maybe a bit of that armor. And then anything that's closer obviously is getting a lot bigger, right? Okay. Maybe these even come super close to us or something right? There we go. And we can decide. So what we're doing here is we're playing with the form and we're trying to move it in different directions, right. We're saying what does this look like from the from the side street side profile. Here's the street side profile, right? What does it look like? From a quarter view, three-quarters view, straight on all this kinda stuff where you want to play with this a little bit. The other thing that's really important in my mind is using some type of size reference, something that you can kinda gauge. How, how big is this thing, right? So let's say we draw a boat. Let's make it kind of one of those, those ones with the three mass. And then it's got this, you know, the old pirate ship type type thing, right? Okay. So you want to have some type of of size reference that people could judge it against. Because right now these guys are just looking at like, I don't know nothing right there. Just looking like something you'd buy at the grocery store for a little squid dinner or something like that? I like squid dinner. So it's not that intimidating, right? So we can have This ship. And then how do we now make this impressive right now this is about the size of a ship. That's cool. I think it's not bad, but we could have it even bigger. So we have the head here and then the back of the head comes back here. You know, the main part of the body, right? The, the tentacles are going to start spawning off of this part, right? So we'll have something along these lines right. Here will be the eyes, the ridge. And we said there's a couple of ridges along here, right. Here we go. Okay. A little bit of an armor to it, right? And then now these tentacles are going to start wrapping around it. Right? We can start, so now that we can see how big this is compared to something that we have a better reference in our minds, right? We don't know how big a sea creature is, right? But we can see that, oh, well this thing is quite massive because I know the ship is a decent size, right? There's gotta be a little people on here, whatever and stuff I got right. Little dude's running for their lives from the crack in and whatever, right? So like if the ships this big, now we know, OK, this crack in his monstrous right? And so whenever you're drawing some type of monstrous monster, tried to as much as possible, ground its size in comparison to something that people can relate to and compare two, okay? If you've just got your monster floating on a white background and stuff, people will admire the design. People will think, Wow, yeah, you colored a grade or Greek rendering, whatever it is. But if you can, if you can draw it in a whole scene, it's awesome. But even if you can just play something next to it, That can, people can use as that reference point, right? It's so much better, it'll give such a bigger impact to your drawing. Okay, this is something else I wanted to talk about was some of the details, right. So we've got a tentacle that's coming in and kind of moving around here, right. And we're going to add some, some meat to it, some size 2. We're going to bring it around something around this way, some thickness to it. Okay. Now, what we can do is to start adding in maybe rows of the suction cups, right? These are kinda awesome. See how they we want to have a little bit of order. So I'm kinda roughing in where I would put those rows, right? So I can, you know, if I could kinda put it in here. Running it along sorry. I'm running it along this line. Right. Cool. And then yeah, actually, I should have continued on just roughing where I would have these things. That's not exactly where I'm going to draw them in. But there we go. Okay, so now let's say I want to add more details here. Alright? What I can start to do is come in. And of course this is what you would be doing on your crack and right. And you start to decide, Okay, where's the top of this tentacle, right here's the main ridge. I kind of think of them like snakes whenever I'm kinda drawing a snake, There's this top section of the snake, right? And it can have certain patterns or whatever, you know, like depending on the texture that I want to do, I want it armor plated more. Do you know? Do I want it tougher skin, right? Do I want it this kinda crisscross have almost like a wall. What we've got here, write this. You could think of it almost like waves of texture going over it, right? And then we can start to add on down at the bottom here these suction cups. And I'm kind of using the spacing as a bit of a guide for me here, right? Okay. So I'll bring this up and over, and it's up to you what kind of texturing you want. You can even change it. You know, what I've seen done before and let's maybe erase this a little bit here, is, you can start to vary it. Let's say near the near the main chunk of the body, it comes out in, it's kinda like in this armored form, right? It's coming out like this and it's quite brick looking, right? Okay. So it's it's bricks and stuff, right? And then as it starts to come out and it wants to become more flexible as it goes down and it starts to lose itself a little bit. And you can start to do this type of thing, right? And then eventually you can bring it all into something like that, right? So it's, it's really up to you how you want to do it. It is your creature. Like I said. Just realize that you want to stay kind of consistent with it, right? That Here we go. Okay. So we're starting to come around a little bit. And I'm just going to rough in how these would go. There we go. Yeah, You want to stay consistent with your own design, right? If you start getting a little too wonky, people, the viewer will get really confused by it. All right, so I'm gonna keep this along here. Bring the suction cups all along here. Maybe adds a little bit of depth to them here. They're coming from somewhere. Right. Here we go. You can see how this could easily be done on your cracking. Right? Now, when I say easily, I don't mean as in quickly, there's a difference between quick and easy, right? That I think this would take a certain amount of time and that's okay. You know, it would it's worth doing, right? Just realized that what do you wanna do is kinda rough it out correctly to begin with. And then you'll see, okay, well, once I've got this roughed out, now it's ten times easier for me to kind of just go with the flow on it. Right? There we go. And now I'm just kinda gonna add the bumps. And now that I'm back on the underside, I can start to, and this is a good way to show form is use these circumference lines. Have them kinda going back and forth to give texture here and stuff, right? Cool. You can crisscross a little bit, give a little bit more to it. Right? Here we go. So would you want to do is take all of this detailing and add it to the cracking, right? Add the armor plating, add all the cool tentacles to it, give the details of them moving around and stuff. I get like as if they're grabbing onto something or reaching out, right? Add the texturing in. And then well, look what we've got. We've got ourselves a cracking. All right, How awesome is that? We just created this mythical beast, right? And it really wasn't that hard. Or our forms are simple. Just a little bit of the head plus the basic large body slash head coming out of it and working those tentacles, right? So once you've got that and then you add something for a size of like a reference point. Then you've got your cracking. I hope this video helped you guys and I hope to see some of your cracking. Now. Get back in.
6. Drawin Aliens: Hey guys, In this unit we're going to talk about aliens, how to draw them, and maybe some different approaches to them, right? We don't, I don't really know what aliens look like. But we can kinda just play with our imaginations and see what we come up with. Okay, so we're going to start off by jumping into the first figure here in this first alien title. And when it comes to aliens, well, I've never seen one. So I can't say what's right and wrong. That's the cool thing, right? It's like, wow, this could be right, or this could be way off. Who knows what? It's all in my head, which is not always the most rational place. Okay, So I'm going to start with, let's see, one line, straight up and down. I'm going to bisect it like this. We've done that eight heads high so many times and as I've said in other videos, I hoped you went and watched it before and stuff like that. The bonus unit I put it at the beginning of this course, right? But now I'm going to do something different because while I've got an opportunity here, an opportunity to do something strange because aliens aren't grounded in necessarily our reality, right? So what I'm gonna do is I'm gonna put one head. This is going to be two heads hot, right? We're going to have two heads high, one head here, the hip here, and maybe some fee here or something like that. I'm just starting to goof around with a little bit right? Now, normally, if this is the head, I might put the shoulders down here. I'm going to put some of the different friend. Just lift the shoulders up here. And then put these mega, mega man arms down here or something like that, right? And then kinda connect, connected, maybe the elbow can come right here like this. You could think of this as the hands down here. This is the form and then these giant forms, right? And then one mole there is the circumference of the face, right? This is make a little bit of sense so far. So let's, let's carry this over. Same kind of thing. But now we're gonna do a bit of a character turn here. We're going to have the same thing here, but we're going to have the center line here, coming along here, coming through here. We're going to have are the hit roughly here. And of course the center line also follows that a turn. It's, you know, it's obviously facing little bit this way. Or we're going to put this giant shoulder thingy up here, antenna, one here, draw through kinda thing. And then we can have form here. And maybe a big forearm tibia here. Then having it connected or something right here. So then under these cute little mano, what I'm gonna do for feet yet her. What do we think that's not bad, right? You know, I think this is looking kinda weird and different. And that's what I want. I want that for aliens, I want them to look kinda, kinda strange, right? Pushing or proportions and stuff somewhere that we haven't brought up before. All right. So let's see if I kinda zoom in here. See you talking McKenna is something somewhat sensible. I'm just gonna kinda sketch this out here. So I'm going to put leg, shoulder pad up here or something. Right. And then kinda come down and just something. Yeah, I don't think I'm gonna make this kinda like a bit of an armored units. And then maybe how some people hole here. And then the bottom here, the main head tag within a year and maybe some cable line that follows the center line might be the entire man mouth. Something along these lines. And if I'm going to follow this line, maybe something here, something coming off this side of the eyes, right? Okay. So now I don't have to follow this body exactly the kinda come in here and come back around. And it's going to come down to this foot out. And in a kind of follow that circumference, right? So maybe you'll stick with the scene here. Have something on the boot here. This type of thing, this kinda go on with this oval pattern to the armor type of thing. So I can have this one come here. And the pattern down there, where do I want anything in the middle here will not have almost like an belt line here, something. And then just keep falling down the middle. But not really, you don't get it. And I'll put this on the other side here. I'm showing the under side of it, right? So that this outside oval here is going to be on the way outside here. And what did I do? I can type this in B, this a little bit smaller in there. So there's a weird alien things that kinda makes a bunch of sense, but no sense. We're sheet right? And so I can point of this is that it works within what it's doing, right? You know, it could turn, it can function within this thin, maybe these things spin up and stuff, right? I'm not gonna say it's beautiful, but I am going to say it works, right? So why don't I try and add one here? I'll switch back to blue. What do we say? Something thin. So I'm gonna come down here, do the same thing again. Draw kind of a straight cut line. This time I'm going to have the head quite small. I'm going to have the torso long. And then Iago with roughen these little lakes. Kinda simple like right. So it's going to come up just like this, will have smaller hip. And then what I'll have is kinda of this elongated. I want this kind of Beanstalk looking type a torso. And then I want to go with the flow. I want to have something up here. This could be like the scapula or shoulder blade type of thing, right? And then from somewhere in the mid point B, the arms can hang down. Something like this. There we go. Yeah, that's kinda looking funky and of course not of course, but maybe midway the elbow or something like that. And still with this head. Let's keep a kinda a little bit simple looking. I want to try to like imagining he has a fin here, something like that. Here we go. And get us kinda looking alien niche, right? No. Now let's say we wanted to turn it in, so we're hearing this over. Here would be that bottom hip part here is the head. So the head maybe turns this way, right. And then I have this fin coming up or something. I'll start with the oval again, but and I'm going to keep the same, similar shape because I kind of want this, this tapered sheath rule. But remember this comes up and this is going to be the shoulder blade coming off of the medium run somewhere around here, right, the short Lazy mode, and then somewhere up there. So on this side the shorter leg came up on the other side of the head. And if I was to draw through the joint would start there right. This can come down to this level from down into that looks there. From down to this level, comes down to handle books there. And then however I want to do these little feet. Something along these lines. Very strange looking button once again, Sam. All right, so then I can start to come in here. And, you know, from, from this point, maybe even funkier with this fin. Pull it up right? Here's a bit of the scalp. Don't want to add a lot of details in right now. I just kinda want, you know, some basics and we're honored to have things right. Comes here. The neck into maybe what could be seen as chest, but it doesn't have to have the anatomy that we're used to. This comes off up into this part. I want this, we want kind of insect looking like MRSA tapered parts to it and then bones out, right. You know, like it kinda flares out into the joint. Okay. So I won't necessarily put everything in doing on this side of it. Actually, you know what I can put like, imagine there's a pattern on this side or something. This is all just playing around, seeing what it would be like. And I was going to come down to here. And then, oh, yeah, it looks kind of cool. He's kinda like imagine hook or claw tape then on the other side here. Maybe I can show, depending on when I do this, I could show rows of something here, like shark teeth only maybe spikes are some dividends out. You know. This is right now what I wanted to show you was more of a structured design, but you can go when, start to play around with it, start to see what you would like to do with it, right? Oh, okay. So looking kinda urine so far, but that's not what I could do is kinda modulate this left glute into small sections here and stuff. And this might even have that more of its kinda looks like an insect slash bamboo sheet or something. Now that I'm looking at it more, it's starting to play out like a praying mantis tapes thing, right? So when I come, I've already rough this down, right? And of course I made it into LU, buoys, but it doesn't have to be that way. You can be a little clause or something, regular, weird appendages that don't necessarily make sense. I'm just using this, this area as Canada geese and something like that. So what you wanna do with your designs as being able to do a straight on shot, a quarter turn, side turn aback, really keep turning these guys around and stuff like that. See, see how they look through a bunch of different angles. So if you ever do come up with a concept that you want to use in a bull creating? Well, you've got it from every angle, you know what it looks like from behind, right. You know what It's how it's supposed to look, then you're not kinda guessing is as you're going through it. Okay, and the last one I want to look at is those would want a string cross here is kind of a big headed guy. Not as big as the first one, but it's divided in three. Let's do that. So we're gonna go with the big round head here on kind of like a jelly bean body or something like that. And then little feet, something like this. And so it almost childlike on yes. Yeah. Now I'm kinda liking this as a child, but instead of just a child all I want to put like some type of antennas here or something like something different. Maybe something on a good Here. We want to put some tape both. I was gonna get cornea to think of late 70s rollerskates or something like that. Just because, you know, the headset and stuff again, I don't know. Let's see. Maybe I'll start to flesh this out a little bit and see what comes to mind. Sometimes as you're just kinda rolling, don't get too caught up in it. Don't get too caught up in everything that you want with it. Just see where it takes. You start sketching things. So you know what that's like. So here's my center line by this little alien. Well, at set typically is off to the side here. Where do I want to have something along these lines right here will have small as cute so far like that. That's a torso getting really drawn much of the shoulder. So we can just kinda come like this. I'm still not coming up with anything what I wanted for it that makes this guy more distinctive. I have everything all wired up. Good. I mean, like, let's say for example, the backpack on. So I'm gonna kinda do some type of packet I can barely see here. Maybe draw through type of thing. So is wires come back into this pack. He's got some special songs on his arms and they come back into the pack, right? Maybe there's something underneath his feet or something. Given bounce like whatever metric type of additions he might have, critic can wire back into this pack. I wanted to defeat. No. Why not? He says it all has to be truly practice. I want to put your knees are in there though. So once you look in like it looks like a cute little alien, right? Like if he came to the planet, I don't think there'll be a whole lot of people screaming and fear, anything like that, right? And that's okay. No, not I think what happens is anybody that tries to draw something, tries to draw the biggest, most badass creature or alien that they can come up with, or something like that. And cool. And you know, there's definitely room for that. But that's not always what's needed. Sometimes the character has to be funny or whatever it is that makes the story work. So I'm just kind of roughing things right now. You don't always have to draw the craziest thing, right? We want to have a bit of diversity in your ability to create. And so that's what this is about really is I wanted to show you guys that Listen, you can do a lot more with what's in front of you. You know, not only in body types, but you won't always have to do some really crazy. Don't want to use a term but write it out. Character or something like, Don't get me wrong. I love to draw muscles like up to draw monsters. I love to draw all that stuff, right? But he has sometimes it's fun just to draw something almost like a TV or something like that. That can be. And, and little kids can look at something that's the whole purpose of being able to create whatever is needed at the time. All right. Okay, So I'm doing these little wires back and stuff. It's often good to draw through right there. On this one maybe I don't I can't see the backpack, but on that turnaround it would have to assume 0s. I want to draw it in almost like a kid Swartz here or something. This I guess I'm kind of hearing t Now that he's kinda evolving right here since I want to come in off the heel. Sink up here. Okay. So there we've got three kind of alien designs. You know, basically a two-headed high one, right? This one was more like long to 10 ahead and high. And this one's to me and they're all very different. And the reason that they're all very different is not because one looks like a bamboo shoot, one looks like a dog chew toy. Right? Okay. So that's what I'm going to name my dog, chew toy, bamboo shoot and ACT. But really they're different because we just played with the proportions to, to roll with right leg. To start off, we're like, Okay, well this one's going to be totally different. This one's going to be only two heads high. What can I do with that, right? So this would be awesome if what you could do is either ask somebody in your household or something like that. Azure. Pick some random numbers like 2, 7, 21. Now draw three characters. One is two heads high, one is seven heads high. One is 21. Yes. Hi. And how would you make it work? I've done this with my students a lot before. Just, you know, throw up some random numbers and stuff. And let's see what you come up with. I think it was awesome because you get really creative. You can take it beyond that too. You could, for example, scroll through them. You're listed TV shows or something like that. And just take something from that, you know, whether it's like okay, ten heads high high-school or two heads high prison? No. And just kinda take a keyword to get you started off as a jump pointer. So yeah, we've got aliens here, but just in it for the sake of, you know, okay. Yeah, we've got it. But I mean, we want to go beyond that. We want to start thinking of a little quirks that they might have or something like that. You know, was the tutorial guy was maybe he's a prison guard on an alien spaceship or something like that. And you try to think of things to help flesh it out a little bit more. So now that I've got that in mind, prison guard on an alien spaceship, maybe it would be I would start to add restraint devices to them or something like that or like electrical zap are things on on his hands or something like that, right? You understand what I'm saying is that you can start to build off very simple premise and then start to play with it, start to enjoy it, start to see what flows out of you. And then see, okay, well, where's the next level that I can take this working? I mean, politically stories, this characteristic. Either way, I hope that job really pushing the proportions here has helped you. I hope that it's getting creative. And I really hope that you do get assignment that I'm seeing here. You do some wacky different numbers for how heads hot, how many heads high, and then you send it often. I think that would be awesome to see it. So that's your assignment. Let's see some multiple versions of anions.
7. Drawin Dragons Pt1: Hey guys, in this first unit of our Dragons, we're going to take a look at the basic structures of lizards and then see if we can extrapolate that into a bigger batter dragon. Lot of work on textures here and forming the shape. Let's get Doing. Okay, so now that we're getting into it here, we can see I've kinda gathered together some references. And you're kinda looking at these and you're kinda wondering, what is Ed thinking? Why did he choose a mountain lion? Listen like, I think we could have went with a large lizard or something for the base body. I think that would work fine. But the movements of the mountain lion, the flexibility, the stances and stuff are a lot more in line with what I'm thinking of doing a dragon, okay, so bear with me and I really think this will make a lot more sense as we start to get into it. So let's see if we can find some underlying structure. And in this mountain line, right? We'll, we'll kinda look here. And here's going to be the ribcage and here's going to be the hip. We're going to have the backbone coming over, over here, right up here is the scapula. And this is an important part. You can think of it almost like a triangle where this first part leads into, okay? And here's the hipbone. Okay. So this part leads down to here, back to the heel spur, down to the what would be the ankle and then the Paul. Okay. Let's see if we can do it from the other side here. Down to knee, down to the heel spur, down to the ankle, and then the Paul. Okay. This is looking pretty good so far. Comes down to here, down to the heel spur, down to the ankle, and then the Paul. And it's most likely hidden, but we've got something similar happening on this side here. Okay? And then we've got what would be we're going to deal with the head later. So what I want you to do as we're going through this, because this is a bit of a long unit. What I want you to do is below here, see if you can plot it in and work this same stance in. Okay, we're going to have the tail coming off the back here. Okay. So, you know, put into the scapula up here, that's where the joints are going to come out of, right. And then start to plot in the legs and stuff. Okay, do a little bit of draw through if you want. Something like this. Okay. There we go. And ankle. This one coming down, coming down ankle. And we go and it comes up into what it'll be like that now, when we start doing the actual drag and we might expand on some sections, do you? I mean, like we might end up thickening up various points here, but I want this underlying part to be the structure. Okay? So we're using the structure from this mountain lion. Let's see if we go down and see if we can find it here. It's kinda stretched out. So you can picture a dragon flying type of thing where the tail going off into the distance, right, coming down into the leg, the heel spur, the ankle and the foot, right knee, heel spur ankle. And then we can put the foot back there. Alright, same type of thing. Here's the scapula. I want to really emphasize the scapula because this is where we're going to end up putting the wings. Okay, So down to here, here, here and Paul, right, we could draw through and it's going to come over here and then we'll have the head of it all and stuff, right? So the wings will eventually, we'll get to that. We're going to draw them out of there. So same thing. I want you to see if you can draw draw it on this line down below. Okay, Cool. Moving on up. Maybe I want to draw this beside. Sure. Where are the structures? We've obviously got a head structure here, like I said, and we're going to talk about this later. This could be the dragons face. Depending on the size, how we want to do a head, it could be much larger. We've got a rib cage sitting here, and we've got hips sitting back here. We've got legs that come up from the hip up to the knee, up from the hip to the knee, back down to the heel spur down and then maybe into a foot somewhere. They're back down to the heels bird down into a photon and it could be there or something like that depending on how we want. It positioned right. Here's the scapula up here. So where the front legs come from? The elbow down to the my guess wrist. Right. And then down into the second part for that, right? Now, Here's the middle circumference of these guys, and let's see if we can draw it beside. And I think you could kind of imagine a dragon with us as the tail comes off and it wraps around and stuff like that. And then the dragon's head is here coming forward or something, right? Okay. Then the wings coming off the scapula. Here's the scapula. So we're going to come down with the, with the front legs and then the wings will come up, right. Okay. So I think you're kind of getting what I'm getting at here about how to structure everything. How to take this mountain lion and make it into something that could resemble what you're hunting for, right? It's good to use things in nature because they're functional. And a lot of times we, we kinda, when we're creating fantasy animals, we forget a bit of that functionality. Right down to here and down into the pole, down to the elbow, here, and out into the ball. So you could have a dragon sitting here with a big massive head, a massive snout. And we're going to get into this later, alright. And you know, it's sitting here with its wings folded and stuff, right? Okay. So this is what I want you doing is trying to design this type of thing. Now listen. There's other ways to design a dragon like I remember growing up and I think Puff the Magic Dragon header, huge base, small upper body, and then came up to some type of head type of thing. All right. And the base, you know, it had these it's still had the the dog or the, you know, the type of dog bending legs type of thing. But it's upper arms were quite small and then it had these little wings and stuff. So you can, you know, if you want, if you want your Dragon to be this kind of shape, that's cool too, right? Like it's way more out in the fantasy end of it. I don't think we would look at this and say all these little wings could make this dragon fly, right? But so what if that's your dragon? And Dragons don't aren't real rate. So if you want to see, well, it was Puff the Magic Dragon. There's some magic going on, right? So you put some little sparkles around there. And all of a sudden it makes sense because a magic make some fly. All right? Okay, so this is what I want you doing in this section is looking for the basic shapes and seeing how you might start to line things in. Where are the, were the feet. Whereas everything kind of crunched up and everything right. This one maybe it goes back. This one came down and then forward and then into the Paul. This one came back and then down. And then into the Paul, right? And then this head, this could be a awesome dragon's head coming forward, looking over its treasure or something like that, or over mountains cliff with these big huge wings going on. All right. Okay, so that's what I want you doing is roughing it once again down below, see if you can fill in all the missing details of it and stuff, right? And that is the basic body structure of 100. Want to go for what? You're going to see, how it will really change once we start to add in the head and the wings and everything, right? But for now, we're going to have the ribcage, the hips looking where the scapula like where the joints come out of and then the head. Right. Okay. And then you're going to start to plot things in and stuff, right? Okay. So if you need to take a break right now, I would suggest rewind and really take time to fill in all these blank spots and stuff like that. If you're drawing over my stuff, cool. Trace over it and then take the next empty sheet and trace over the rough picture is at reference pictures that I've got and then draw it out beside and stuff. You know, this is what I want you to doing a once you really like practice this body type. And if you really want to, you can start to push the body type in a certain direction. If you want bigger hips, cool, if you want bigger shoulder blades, cool. But don't worry about the head yet. We're still moving onto that. I told you this is like the mother of dragons unit. It's a big unit. Okay, next one, we're moving onto his wings. And what I've chosen here are bat wings. So how I design dragons, usually as all, all set the scapula, whether I use it as a triangle or the base, right? It's going to come out of the scapula, hit one, bend, imagine the elbow, and then it's going to come up. Okay, so the way I'm doing this one bend and then it comes up and this is actually the hand, the bats hand. From here. You can splay out the different kind of appendages, fingers actually, when it comes to a battery, you can splay them forward, right? It looks cool for a wing and then you could also do it off, off of the elbow joint and then start to pull them together depending on how you want to design it, right? Is it interpreters or anything and it can come back into the body. Okay. But that's basically it. You're going to want to practice this in its various forms. Like try to shifted, shifted around a little bit, have a splay up like this, that type of thing, right? Have it more open and see if that makes sense to you. Okay. You can come down and see it from different angles, right? It'll come to the elbow, to the hand, and then up. And then you can have fun with the different lengths of each finger. I'm doing little air quotations on those fingers and stuff, right? And see how that works for you. You can even fold it on the body. If here's the mass of the ribcage, right? You can bring it forward to the elbow, bring it back towards the hand, and then splay the fingers going off of that. If that's the way you want to do it, right? Actually, I'm going to correct us just a little bit. You when you're splaying the fingers, they're gonna kinda come in tight on the inside, right. And then the elbow, two fingers will come in here. So then you'll have this wrapping all inside here. Does that make sense? So the, the wing itself will kinda look like one unit and it's just kinda wrapped between these fingers and fold it in. So that's what I want you doing for inside of the if the wing folds up against the body or the torso or anything right? Now I choose bat wings, right? And if you want to choose something else, some other wing tomato and after, That's cool to just the reason that I'm trying to pull you into a functionality. It, because it just convinces the eye a lot better when we're looking at these pictures and stuff, right? We'll be looking at it and say, Yeah, okay, I get that. That reminds me of something. They can't quite put your finger on it, you know, like I'm sure when they're looking at your drag and they're not gonna say those look like bat wings because there'll be different enough, right? But it'll be familiar enough that people will say, Yeah, I totally get that. The other thing you could kinda do with the fingers kinda thing is put these little hooks like the fingernails. If you want to put that on some of, some of the wings, That's your call. You can even have like little spikes and stuff like that, right? And that's kinda where we're going to move into the next one. We're gonna talk about a heads and structures of the dragons. Okay, so here we've got an iguanas head. He's a handsome little devil. Alright. I think for dragons we will use this basic structure. Okay? So that means it's comes forward into a small cone and comes back. I think though what I would do is maybe flare the nostrils section a little bit more. You know, have this front section and the mouth. The lips can be a little bit more protruded. Maybe dropped the jaw, the chin underneath, and then I like these big towels so you can have the zhao of some sort going in there. The eye could be maybe just a little, little smaller with with a bigger brow over it with some, give it some, some weight to it so you can, you can throw emotion into that brough and stuff, right? And then it can come into the back of it, right? So let's see if we draw this. Do we want to go above or below? Let's go above. I'm kinda run an outer rough room here for you. Okay, So we've got this, we pull it forward. Basically like that, right? We'll, we'll run a line here just so we can get the section for the eye and stuff, right? So we'll have this, some things underneath it will have the nostril, will have the nostrils, flare, will have the mouth. Depending on how we want to design it, right? We can have lips. We could have it come down into the chin. We could have bombs over here. We can start to have rigid or little horns going into the back. And this, and then the main point that I want to see is the vowel, okay? So on some of these you might see some hanging flap below. I actually think that looks pretty cool because it gives a realistic reptilian vibe to it, right? Okay. So you want to have that kind of thing, Joel, look, and then you can put spikes on the back. Here is going to be the shoulder blade and stuff. So you'll want to start to work in where the wings going to come off and everything like that, right? And you can see how powerful this is already starting to look right? It looks like a cross between this iguana and Godzilla or something along those lines, right? So looking mighty cool. Now, once we opened it up, there are gonna be some differences. I still want to have this main section of the head, Okay? And we're going to come forward. Imagine it like this, you know, with the, the front of it. So we're opening up. People make this mistake when they're drawing jaws. A lot of times what they'll do is they'll draw jaw. And you know, here's the jaw and then when it opens up, this bottom section just drops down. And so it becomes this elongated like Here's the top, here's the bottom. And it just drops, right? It does it, it opens up like this because there's a pivot point here in the jaw, right? I think what we can do here is add more to the bottom of the jaw, to the chin and everything give it some depth, right? And if we're going to round out inside, we can love this, this medial tendon tissue that's going on here, right? We can have here, we're going to have the nostrils flaring up, right? See if I zoom in here a little bit for you. Okay. So we've got the nostrils flaring up the midi mouth, but then of course we'll put in is teeth. So we can draw these teeth in depending on how you want to have. It. Just realized that there's, you know, what? We're looking at the inside of the mouth here, right? So give it a little bit of depth to it, right, that you can do your rows of teeth along this side and then rows of teeth along the backside and stuff. How you wanna do your dragon's teeth is up to you. You know, I've seen something else that sometimes is almost like a bit of a nozzle inside here, shooting up from inside of the dragon's mouth, almost as if it was a hose or something like that. And so that can be like where the fire is produced out of and stuff, right? If you've got a fire breather, Anya. Again, that's a design feature and I think that adds an element of realism to it. Okay, so I would go with that. The other thing that I'm going to add here that I think is pretty cool. It's starting to look at all the details of texturing. We've got these, these different, we've got almost these. They look like stones, right? But they're actually bombs of armor and everything, right? So we can align the mouth if we want with them and stuff, right? It almost looks like stone work and stuff tile work. Okay. You can go into small detail into the scales and everything, right? And this is where it's really a personal choice of how much time you have. You know, we've got this big gel here, right? And it comes down. And so do we want to, you know, maybe I'll follow my drawing here. Do you want to spend the time to draw the lips? Yeah, I think that'll be worth it. Do we want to draw individual little scales below that are kinda making up the the chin and stuff. Yeah, that might be worth it to. It kinda looks pretty cool, right? For the sake of this video, I think that's probably where I would end it a little bit and stuff. I would start to rough these in. I also mentioned like drawing these kinda towels as they come down below. Maybe you could use a dot pattern to kinda render that rendered and some of the texture and stuff I get. If you're gonna use a dot pattern, then kinda realized that you're going to go with the flow of whatever tissue as it is and stuff, right? Try to run the flow of the tissue and stuff. Okay. So you can rough in some bigger things here and then also some of the smaller ones. You could also, if you wanted to do it with a line texture, start roughing in this way, and then the other circumference cutting across it and stuff I got. All right. I think that's a pretty valid way. It kinda follows what the intention of this is to look like and stuff for him. So that's one thing to do. Like I said, I would focus on the tendons in, inside this melt, how it elongates and stuff. Your choice on the teeth. Do you want big, kinda massive teeth in here? Do you want sharp rows upon rows inside? If you want to reference a shark type of thing, right? I would say basically the two eye teeth like the two front ones is probably the ones I would focus on almost looking like a snake, but then you push too hard and it kinda looks like a snake, right? And like I said, we could have this jutting thing coming out here where the the fire is shot out of, right. And it's coming down in here and then the teeth, the second row of teeth would be coming out of the gums on this other side, right? So already we can see some of the cool details. We talked about putting in a bit bigger of a brow here, right? And that allows you to show more emotion in the eyes and stuff. You can raise the brow, Laura, it and stuff, right? You can add armor into it. I think it's worth doing because dragons generally, we don't think of them in mythology is just animals. You know, they're, they're intelligent. They're sentience, right? Like they have a lot of thought process to them, sometimes greed, whatever and stuff, right? So you want to be able to show some emotion when you're drawing your dragon and stuff right? There we go. Cool. Now, spikes on the back. I don't know. I'm kind of a mixed emotion on this. If you want them, put them, if not, that's cool too. I think these ones happened to look pretty cool. You can narrow them a little bit, you know, put them more like a Stegosaurus type of stuff, right? You can look at a lot of drawings of how people have rendered dinosaurs to see if that's the look you're looking for, for your dragon and stuff, right? It's really up to you. This is, you know, I'm kind of giving you a lot of ideas for ball parking, this stuff, right? But it's up to you how you want to implement it. Do you know? You pick and choose and say, well, I like this part. I don't like that part. I love the Godzilla look, but I want it leaner and land here. You know, like maybe it could be more animated, looking more childish, looking like how to train your dragon or something. A little bit more comical, right? So you can take whatever body parts you want and kinda cut and paste and C, The only thing I would add is like, I like how this, you can see them starting to angle in a certain way. And then as the back went this way, the spikes kinda went in that direction and stuff like that, right? So here's the construction. This is the rough construction of what I want to see. You coming up with a dragon, right? Look at the basic body form. Look at how we can start to manipulate it, right? We're going to adjust the head size and those types of things. The look of the head, the details of the head. We're gonna do wings as well, right? And then we start to look at the scaling effect. Cool. Are you with me so far? Okay, So now we're gonna get into it. You can see from this sketch of kind of piece together a few of, well, everything that we've learned, right? I've, I've got the structure of the base structure down right now of the mountain lion, right? I've got the head kind of roughed in of my wood, might be an iguana, right? And then I've got these big old bat wings that are, you know, flayed, spread way up, right? So let's see if how I can make this into a dragon. And you know what, I'm going to send you this rough 12 so you can do this exact same thing. Start adding in the details and stuff, right? Let's start with the face. Okay, so like I said, I kinda wanted a bigger nostril, right? So what, what I wanna do is have this type of thing with the lips, the scales and the lips and stuff like that. And then different textures and patterns leading up to this and then the bump maybe here. And then what did I say? I wanted an I here, right, but I want the brow. So I want the browser to come up over top here. And you know what, I'm gonna do the spike things and just start, start the ridge of spikes kinda starting right about here, right? Okay. With the eye is going to be here. Maybe it will peel in here and then come forward. And under the eye, usually there's, there can be a lot of texture, right? That type of thing, right? And so I'm going to do an assortment of different textures on this to see what works, right? You can kind of grab onto whatever you want for you. I think time isn't really that big of an issue. You can do it as quickly or as slowly as you want. For me. I'd kinda, you know, I want to keep these lessons at a certain reasonable length and stuff, right? So I don't want it dragging out to too much or anything, right. Okay. So I'm kinda going back into the mouth here and stuff, right? I'm coming back. I want to have this jaw. Like I said, I want to have this big Joel coming down here, right? This kinda thing. And I'm, again, I'm just kinda roughing in where I think some of the patterns might be or something, right. Okay. Something like that. Right? I said I'm going to have a closed mouth here, but it'll work. I'm going to put the pattern in for this. And then remember I said I wanted to have the kind of chin that drops down right. There we go. And we're kinda just roughing the pattern in, right? Okay, so that's a mean look and head so far. All right. What do we wanna do next? I think adding in the arms up here might be a good way to go. So we have this scapula here, but we have to show some, some mass around the shoulder, right? So it can kind of go like this. And then we'll have this kind of bump that's coming up here. And of course we can add in the rendering later and stuff but coming down to, so this was, imagine, this is the shoulder blade comes down to the knee, comes down to. What might be like an ankle slash heel spur and then comes down into the claw. So with a claw, why don't we do this. It's hanging over this mountain ledge. I'm going to just kinda rough in the nails of it right now. Right. And then start to add in where some of the depth might be on them and stuff right there. They're coming over and coming across like this. And you can add the details in like that, right? And then so I'm going to have the rock surface kinda coming like this. You know, maybe he's he's grabbing into it a little bit or something like that. Right? There we go. And works. And if you want to, you can put a bit of texture on that and stuff, right? Cool. Coming up from the shoulder blades, we're going to maybe put a bump in the neck and then come up to here. And this is where we can start to add in some of these spikes. Now we can change the variety of it if we want, right? Depending on how we want to do it. What I've done here is I've kinda roughed in that the wings are coming off the shoulder blade, right? So let's see if I can bounce this out a little bit. What I wanna do is actually have them on the inside of the shoulder blade, not out on the arm or anything. So imagine that I kinda drew through that, right? And then I'm going to have the back flowing and then the wing is coming out. Maybe I've got a bit lower here and let's see if I can do it this way. The wings going to come out here and there's going to be this kinda joint here, right? And I'm going to just rough in the joint. And remember I said maybe we can put a nail on that like a claw type of thing, right? And then you can kinda sprout up to about here. This is really rough right now, right? Cool. And if I want to, I can have a little spike there as well. But the body itself is going to be behind that. And so this one's coming under, this one will come under and then tuck into the body. We can think of it like that. Alright. So the body will then be coming behind here right now for the underside of it. Depending on how media we want her dragon to be, right? Like I'm thinking something along these lines. Pretty powerful. And like I said, I actually want some type of hanging thing from the neck here, right? And then on the other side, what I usually like to see on Dragons is that the software almost snake belly scaling that goes underneath a lot of reptiles and stuff, right? You can, depending on how much detail you want to put into that, you know, you're welcome to put more whatever, right? And like I said, you know, you can add in different textures and everything, right? To try to give the look you want. I want to keep hustling along here because I don't want this to take crazy amounts of time. I want to finish this whole Dragon for us, right? Looking good so far, right? We can draw through on the other side, Bring it down and maybe just will show one claw, something like that. And, you know, depending on how we want the drag and we can have kind of loose skin in some areas, you know, there's there can be some loose skin here and stuff like that right in the creases there can be a little bit of loose skin. And so you can kinda pattern draw some patterns in that way and stuff like that, right? Okay. Okay, so what do you figure we're about half done right now, right? We want to come up here and draw the other side of the wing. Bring it up, bring it back down. And of course I would do this a little bit cleaner. All right. But right now, it doesn't really matter that much. Okay, I have this claw type thing, have little spike here. And then what I can decide on these wings as you know, something like that. And if I want to, I can add a little bit of a tear in. You know, they don't always have to be perfect. You know, they've, dragons lived a life, right? So there's going to be a little bit of scar, you know, there could be some veins going through it in that type of thing, right? Okay. Just to separate the wings, this is the one in the foreground. There we go. Alright. And if you wanted to, you could put little spikes on the ends of these if you want. Depending on the look you're going for, right? What do we think? Yeah, that's looking pretty cool so far. You know, if you want to be consistent, what you could do is like along the back, you can put a certain pattern, right? So it would remain kinda unified as you go along the creature. And then as it moves down, the pattern kinda loosens up a little bit, right? And then it gets more flexible and to the joints. Becomes this looser pattern and everything, right? Okay. So like I said, it depends. Do you want to draw every single minute scale? Do you want to, you know, how much time do you have for your piece, right? Do you want to be doing all that? If so, awesome. I don't have time. I don't want to do the time-lapse thing for you guys. I want you to see it in real time as I as I moved through this and stuff, right? But if you want to do it, go for it, I think that'll be awesome. I'd love to see what you're doing with it and stuff I get see what you came up with, right? Okay. Looking good so far. Alright. On the hindquarters, let's see, we've got this big section of the leg here that kinda comes and it comes from the belly here. It comes into this knee. Do I want this as the Yeah, why don't I do this. This is the layer that's closest to us. And it's going to come down into here and then it's going to grip. I'm going to have like maybe 123 and I'm going to get a little bit more detailed in here and start to come in. Do these claws. Really add them gripping in, right? And then the knuckles come out of that, giving it some, some weight to it, right? As they come back up into this thing. Cool. And then this mountain part comes here. There's rocks everywhere, There's rubble. And then this other leg is going to walk. First one I want to do the belly right before I started doing that other leg. Do I want this guy to have a hanging belly? I think, midline. Right. And so you wanna make sure that this leg is kind of attached to something right? There we go. Now, bringing this one down over, this one up and down. And we can rough in the leg back there, right? As it's coming from this side. And of course, you know, if you want to, you can start to add rock scenes, things that will make the scene a little bit more convincing, a little bit of set dressing and stuff like that, right? Depending on how much you want to get into this this scene or anything, right? Cool. Looking pretty cool so far. I got to say though, I think the leg is looking a little wimpy. Now that I'm looking at it backed out like that. I think I want to add some some beef to it. Yeah, I'm not loving how this totally looks. Let's see if I can beef it up just a little bit right there. Okay. So it's coming off here. And then it comes back into here. And then while I'm kinda losing myself in the wing a little bit here, right? So It's kinda going like that, right? And of course, you know, I can have different patterns. Usually I like to put the wrinkle folds, whatever is being bent here and stuff, right? So it'll be like this. Maybe on the knees, you can get some of the rock type of scales and stuff, right? Adding in the textures, adding in the occasional little bump, maybe even a scratch or a scar, right? Okay. So this is making a lot of sense so far. All right? And now what we're going to have is the tail. The tail is going to follow this backbone. It comes up through the shoulder blades along the back, and then it falls out and follows up this way. Right. And that's where, you know, originally when we're looking at we're like, Oh, okay, I can kinda see a cat and I can kinda see how it's just a flimsy physique and stuff like that with a with a big Mellon iguana head thrown on and stuff, right? But as soon as we start adding different things to it, like a massive tail, the wings and stuff. It starts making more and more sense as something beyond just those pieces and stuff, right? It it doesn't look like if somebody was looking at it now they wouldn't necessarily saying, Oh yeah, I get it. That's totally a bat, right? No. It's gone beyond that point, right? And so we're gonna come back here and we're going to continue on with those, those spikes, right? And you know, what's really cool about these spikes is they, they fold the center line, right? They'll go down the center line if you want or you can have them split out and come on either side a little bit of the there we go. That's kinda cool looking, right? So yeah, why don't I do that. Have the spikes kinda split out a little bit. As they go down the tail will, let, let's say along the back, it's three lines, right? But as it hits the tail, it becomes sorry along the back. It's just a one line coming from the head and then along the tail It's splits into threes, right? And we've got a bunch of bunch of bumps here and stuff. I got it right. Maybe off the back of the leg and stuff where it can almost look like growths or tumors or something, right? And so, you know, take away the sketch disguise starting to look pretty, pretty funky looking right? I think we could go in and beef up the hind leg a little bit. I'm looking at this one thinking it needs to have more texture and stuff, right? If I was to finish off the line work, I think I'd ink those back legs so you don't see them as much and stuff, right? But yeah, they're definitely looking a little thin, but I don't mind that that much. I think I would just beef them up just a little bit. Once you've once you've done something like this, this is only the sketch, right? So we're, we're doing this sketch and we're saying, okay, well what do we like about this sketch? And what would we then change? Modify that we think might serve the purpose a little bit better, right? Cool. Okay, So you know, what you could do is take one of the original reference shots from the first page. Whether is the cat leaping, whether it was, you know, crouching, looking like a pounds or whatever. And then turn it into this, throw an iguana head onto it. Throw some big old bat wings, throw a lot of texture into it, and then see if you can make it a cool, cool dragon, right? Yeah, I think I know this was the longest unit and I know there's a lot to it and stuff I got we're piecing together a lot of things. But I really do think that it was worth it. I think that it ends up to be a really functional dragon if we include all of those things that we covered, right? Okay guys. Yeah, Send me your Dragons. I'm not the mother of dragons, but I'd still like to see him.
8. Drawin Dragons Pt2: Hey guys, In this unit, we're going to once again at dragons, this time really blowing out some of the stuff that we learned before, like you're extrapolating, wanted to give me more detail to it. And stretching and getting a lot more mythical with this dragon, putting in some big wings and really addressing some of the issues that we had in that first unit. Answering some of your questions and bringing it to the next level. Let's get to it. And I've got another dragon unit here for you. And I know you're thinking you already did up a few dragon units. But what can I say? I like dragons? Not only that, but there, they're just one of those mythical creatures that are just done so many ways, so many times that I think having a few approaches to it is what's smart, right? And plus the bonus unit. So let's have some fun. Okay, I sketched out a few dragons earlier. Just some really rough design here. Really simple actually. If you can tell it's kinda almost cat-like in the body, but with a really long neck, right? So let's see how we can kinda take a look at it and see if we could find some basic shapes. That's where I like to start to write. So I think one basic shape would be the hip. One basic shape would be kind of the ribcage shoulder area. And then we can also look at the back that comes along here and it comes out towards the head. And for this one we're going to use kind of a cylinder, cone type of thing, a tapering cylinder, right? Okay. This back will come along nicely out to the tail. And just like with a lot of other animals and creatures that we've studied. They're going to have certain joints right? In the hip. We're kinda drawing through the animal here, looking at what's on the other side are and the shoulder. And it would be through. Right. Okay. So we can follow from the hip down to what would be a knee down to what would be kind of an ankle. And then with a lot of these creatures they have kinda like, I don't know if the best way to phrase it for you. First and secondary foot. Like there's actually bones at running these things. So we don't know for dragons because they don't exist or do they? But for other animals, that's what this dog laid kinda resembles, right? So it comes down to a knee, down to an ankle. This is kinda one foot. There's usually like a spur stem and then it comes down into the second foot, which actually we could think of it like tos kind of thing right. From here down to what would be kind of an elbow, down to a wrist and then the foot, the front is a little bit more simple in this, right? Okay, Then we've got wings coming up and I'm going to, this is really they're all bunched up here. So why don't we go over to the other side and let's talk about wings a little bit. So we've got the shoulder joints here. They're going back to that to that elbow type, back to the elbow and then back down to the wrist and then to the foot. Right? It's kinda hard to see, but we're going to draw through. Here's the ribcage. The hips are behind. Bigger, even. The head is here. I'm going to kind of draw a little bit darker and it's going to go back into this kind of cylinder thing. And you can even draw kind of a bisecting line there, right? So if I draw it beside here, it would be looking something like this, right? Okay. I'm kinda hoping you're going to follow along with this all throw in the PDF there, or rather the JPEG for this one, just so you can kinda use it as reference, but don't stress over it too much. What I wanna do with this unit is we're going to talk a lot about just flow, sketching out skeletons for these creatures, right? But let's get the skeleton known first. We've got the wings mount and it's going to come, let's say to an elbow, then to a palm of the hand. I like that kinda thinking. And then from here it stretches out two fingers, 12341234. So again, think of that wing is like here's the joint coming out of the body. Here it's coming to an elbow, it comes to a head, and then it's SPL plays plays out from there. Right. Okay. So do you think you got it or do we need to sketch below? What do you think? Well, we can kinda do it really simple. Hips, shoulders, out to the tail. Here's the head. Here's the wings will come up. 1234 type of thing, but they're all folded in shoulder. We'll come back down to the elbow, down to the wrist, foot. This one could be down to the knee kind of thing, right? Back to the ankle. Emphasizing because I know it doesn't look like an ankle, but like and then down to the first second type of foot. All right. What do you think? Makes sense? Okay, So why don't we kinda back out and see if we can sketch a few little dragons where you want to start. Your dragon is up to you, you know, like if you want to, Let's do this one, we'll start it up at the head, something like that. Okay, I'm thinking of a dragon kind of flying up this way. So we're going to start at the head. And we can even bisected here, right. And then the neck is going to come down and just kind of flow. So far so good. We'll throw in the ribcage here and the hips somewhere here, right? Okay. So what does this look like? It looks like a snake on rolling little balls or something. But what are we going to add? If we want to, we can add the wings first. So we're going to put the joints up here. We're gonna go from the joint out and then up to the hand, right? From the joint out, and then up to the hand. And then what did I say for this dragon? Let's keep it. 1234, something like that. All right, 1, 2, 3, 4. Cool. He's flying so his hands aren't grounded. So they can be just kind of sitting here floppy and go back to the elbow, up to the shoulder, back to the elbow, up to the shoulder, right. If he's flying sometimes will think that the feet will be back here somewhere. So we can, this is the first section of the foot. Here's the second section, Kinda to the ankle, write out to a knee and then up to the insertion, up to the knee and up to the hip insertion. And there we go, Like legit. That's a dragon, right? You can see how you can start to fill in some of the details that we have up here, right? You can make the head or the neck longer, shorter. Let's see if we do it from a different angle here. Again, for these guys, I kinda like to start with the head and then get into the flow of the body, right? This one's going to be, let's make him flying as well, but we'll make this a little bit closer. Let's see if I come back here to the elbow, dropped down to the wrist type of thing, and then same kind of thing would come from here, me up to this point of the foot, and then it's going to come even further, right. Okay. So we can see already held us as flying, right? And then what did I say? 1? Actually, why don't I kinda bring it in little bit. And then up to the hand. This one kinda comes this way and then up like because, you know, it's way further in the distance, right? And then from this hand point, we're going to go 1, 2, 3, 4. And this one is kinda going to go 1, 2, 3, 4, something like that. Alright? And if you want, you can start to do the webbing of the wing. You can start to rough in whatever details you want in something like this, right? Okay, and even do that half-life, because I find that really helps for plotting with a mouth is going to be right. If I kinda take the cylinder, cut it, and then bring it back here, I know that the mouth is going to be here. If I want to open it up just a little bit or something, I could do something like that. I could put the ridge of the eyes on either side. Something along those lines and I can start to add in the details and stuff, right? Okay, What do we think? And so far, how does this look? Sketchy? That's exactly what I want you right now really, what I want to do is just rough out a few ideas and see which one I like. Okay, so I'm gonna kinda see I wonder guy flying, but I want something different. I want like this. Yeah, we're gonna kinda do this to start. I'm going to have like this. So he's going to be flying. So I'm still going to have the leg kinda just here and then hanging down. And his arms. He kinda just resting and then hanged down. And you can see how quick I'm doing this. I'm just kinda piecing things together. You've got to find like the, the pieces that kinda work in your brain for it. Is this working for you? Does it make sense how you're drawing it and stuff, right? For me. Doing the head. And then doing the rough quick lines really helps me plot out what I wanted to do. So this is going to come up. And how do I want to do the wing? Really, I'm trying to think of like, How's it going display. All right, so I'm gonna come back and then come forward to the head. That's what I want. Yeah. It kind of looks funky. And then 1, 2, 3, 4, something like that. Right? Then on the other side of come forward, it's a little bit further away from us. Know, it'll come kinda like this and then up to the hand and then hit it 12. But we're not going to see all of that right, because it's going to be covered by this section of the wing. Okay. So you can see I can draw through and do the other hand. Right? I could draw through and do the other foot something along those lines. And that, you know what, I could even put this, something like this. There we go. And that would start to be an open mouth or something like that her. So what do we think? We've got a lot of side shots here? Flying shots and everything. I like drawing dragons flying because now you get to play with the wings a little bit, right? So let's see if I could do a little bit of vote more challenging when here. So if I've got some room here, okay, So what I'm gonna do is kinda maybe you rough this coming, something like this. Now, right? And then from wanna kinda coming down and then up. So I'm going to have the ribcage maybe maybe here and then the hips behind. So what I'm trying to do is like this is going to be really in the forefront. The, it's going to come back down the neck a little bit and we'll come back down into here. Come into here. And this will be, you know, here's where the two arms will be, right? Maybe it'll hang down, something like this. And then how do we wanna do this? Hang down. There we go. Something like that, right? So I'm thinking of it kinda flapping. I had all these guys with the wings upright. So let's see if it's he came down with a wash, right? It comes down with the really big high, I don't know. Iz is flapping its wings so they're coming down. So I'm going to do it this way, 1234. And this one's going to be like 1, 2. This is where it gets funky because I'm kinda going through it a little bit. 3, 4, something along those lines, but it's kinda bending because the way the wings going and stuff for him. Okay, sorry. Just move this over. And I'm running out of paper here, but this is just the sketch. Here we go. Okay, so it's going to come here. And then these back legs will be way back here. So they'll kinda maybe come forward, go back a little bit, and then come down into the feet. There we go. And then the tail will maybe cro off behind or something. I want it look as if he was flapping up and then flapping down, flapping up and then flapping down. Okay. So now what I can do is come in, taking a look at the dragon that we've got here, and come in and start to sketch out some details with this unit. I didn't really, I'm not going to spend the time. I'm actually think I'm going to kinda just rough in a few things here. But, you know, like I think we've already gone over some, some of the textures of dragons and stuff like that, that kind of thing, right? Like that's not really what I wanted to talk about here. What I wanted to show you more was just how to sketch out roughly, you know, some, some points of characteristics of a dragon or something, right? That you can take that basic body formation and then see what you can create out of it. Right? Here we go, starting to work. You know, here's the inside of the mouth, maybe something along those lines. And this is really rough. I'm going to redo it a few times, probably coming here and go over it. Maybe put a horn. Yeah, something like this so far. Have this net coming here, have this part of the arm roughly coming along these ways, right? Kinda actually a little bit humanist in that. Here we go. Have this coming down here. Yeah, and then, like I said, you can then design it. How you want to design your dragon and stuff. I think if you, if you get the basic flow of the structure, that's what really matters. You know, if you can get this flow of the structure down, then you can add in, not know, short tail, long tail feathers, kind of cartoonish looking or anything like that. But what I did here was basically took a sketch of a dragon, broke down the basic structure of it, and then just played with it, moved it all around. And now you can see there's some cool lines with it, right? I started to add a little bit of texturing, whole lot of details, dude riding on top and everything. And I think it looks pretty good. You know, out of all the sketches that were that I had drawn the basic skeleton for. This one kinda caught me something about him doing that heavy flap of the wings, right? It's like he's gaining through the air and stuff, right? And then I thought, well, you know what, I'm going to color it up to. I thought, yeah, it's gonna look kinda cool, you know, flying at night with the Moon in the background and stuff like that. I get to play a little bit more with the texturing, a little bit with the colors and everything. And then I added a little blur to it to give it almost an animated cell shaded, feel like as if it was grabbed right out of an animation and stuff for him. But listen, this final product, I like it. I think it looks cool. But it wouldn't never came about if I didn't use those basic fundamental structures, right? The cone of the head, the circles for the ribs are the spheres for the rib rather, and the hips and stuff. I get understanding the basic leg structures, understanding how I'm going to be consistent with the wings and everything, right? If you do that, if you design a creature, whether it's a dragon like this or any type of monster. What I really recommend doing is what I just did here. Draw it out a bunch of times. You don't have to draw every detail or get caught up in it and stuff like that because you know, you're going to know what most of those details look like because it's your creature, right? But if you could draw that structure of the creature from a whole bunch of different angles in a whole bunch of different poses. Geez. Now you're going to own it. That's going to be your creature. Okay guys, I hope this little bonus update was interesting. And I hope you dig my dragon.
9. Drawing a Chinese Dragon: Hey guys, I'm mad and I'm back with another unit here. In this one, we're going to do a Chinese Dragon Tattoo. So the Chinese dragon is different than a traditional Western dragon. There's a lot of shapes that's different. And we're gonna see how this might lay out in a bit of a touch you, right? Let's check it out. Hey, what's up, guys, ed here with another how to draw creatures unit. But this one's a bit of a bonus one. And this one, I'm going to tackle something different. I'm going to tackle Chinese dragons. Yeah, I know it's you're sitting here, you're staring at this picture of Olivia Munn and you're like, what's this new talking about? Well, how this came about was I was going to a friend of mine is getting a tattoo on her shoulder and stuff and we were talking and so I thought, yeah, this might be cool. Design something for her and share it with you guys, right? So a bit of a bonus unit here, right? So we're going to approach it from a couple of different vantage points here. One with the creature design, but two, with an interesting canvas in mind, right? I'm working with a body here. And so it's not a flat surface. And we're gonna see how that rolls a little bit. I think that yeah, either way, like I said, I thought that you guys might find this interesting different symptoms. And so why not, right? Yeah. All right. Let's get rolling with it. So I'm looking at the shoulder here and this is going to be my space. I've got this shoulder slash part of the arm of part of the canvas and then it's going to extend them to the back. So I've got these two blocks here. The back actually I might carried underneath a little bit and the shoulder, you know, it kinda wraps around, right? So like I said before, these aren't flat surfaces, right? These are forms, 3D forms, right? And so I gotta keep that in mind when I'm designing this of how I'm going to basically keep that in mind, right? Okay, So when we're talking about Chinese dragons were talking about the real simplified form here with a little head and a long tail on my hip joint, maybe a shoulder joint, some funky little legs coming off of the back and the front right. I don't know if you guys have ever heard of an emphysema, but basically kind of like a snake with feet, right? I used to have one as a kid. Anyways, that's what we're looking for, for the creature design is this kinda long, snake-like flying dragon. We'll get into more details later. The funny thing is they don't really have wings, but they're always flying, right? But, you know, that's mythological creatures for you, so it's all good. Okay, So I'm looking at kind of, I don't want to have the centerpiece, the main focus right here in the middle of the shoulder, and that's going to be the head. That's where I want everybody to pay attention to, right? And so how am I going to wrap this, the rest of the body around here, I'm trying to think of, you know, what direction should it wrap that? It'll coil and then end up. I wanted to end up somewhere around the boob. There's something just in the back there. So I'm gonna kinda pull it around, see if I can pull it down. It's going to wrap around the shoulder can over. And let's see, we'll twist it up a little bit and come down and legacy that it'll end up somewhere around the loop down there, right? I don't know. This is kind of her choice, how much she wants it to go onto our side there, anything like that, but that's the design I'm rolling with, right? Yeah. Okay. So where am I going to put these the front feet. I kinda like, okay, maybe better to start with the back feet here. Try to figure out where they're going to go, right? Kind of thing that the hips you go around here. And that way, you know, it's kind of a nice little placement for, for the feedback here on the back room. And looking at the spacing and where the head is. I'd kinda like to see the front feet. Yeah, I think the shoulder huge air quotations there can kinda go around here. A little. Not too sure where I'm going to put the feet. I don't like how this one foot is falling underneath the head there. I don't know. I might have to play with this a little bit later and stuff. I got it. I'm just kind of roughing in where I think things should be right now. But I'm thinking, yeah, there might be some adjustment. Okay, so what I'm gonna do is kinda carry this canvas over and draw out these kinda rough spaces of where I'm going to be playing in, right? Just so I can kinda keep it in reference where I had things plotted. This head kinda in this middle shorter section, right? Going to rough it in there, carry the back along. It's going to wind all the way over the shoulder. Kinda wind down the back and then finished down somewhere, like I said, somewhere towards the ribcage slash blue area. Right. Okay. So Yes, we're talking, we're going to be getting into Chinese dragons. I know what's going on for a while. But I think it's interesting dealing with not flat canvas, right? And how I'm going to play that out trim. Okay, so I'm plotting in once again where I thought the clause shoulder should go. Yeah, I think I'm going to play with this. I'm going to tweak it a little bit later. I don't know if I love it right now and stuff, right? But the overall composition is what I'm dig in. I like how it's laid out. I like how the focus is in the shoulder there and everything like that. And so like I said, this is a little bit of a different creature video for you. We are going to get into the details of the creature. But for right now, up to now, I've been focusing a lot on the composition, right? Okay, so on these guys, I really like to start with the head. I think the head to me as a big centerpiece. I think it's, it's important. It's a huge focus for them. What I'm doing is kinda drawing it a bit of a muzzle right now. These Chinese dragons are really interesting drawing in the brow coming in here. They almost look like in like in the face at certain points and stuff I got right. So I'm going to draw the ridge of this muscle here, um, come down and draw the lower jaw. And you can see I'm obviously just kinda sketching things in here. It's really loose. Put the lips in there, put the chin down below. Just keeping it loose. Keeping some of the form where I want it to be, making sure it's somewhat centered and stuff I get somewhat filling out the space that I want. Taking form of where I see some of these muscles lying and stuff I get I'd like to see some there's some bigger ridges I think that I can play with on the scalp a little bit, right? And then it's going to come into almost kinda these mounds, four horns right? Now these guys are really interesting. When it comes to their horns. You can draw like just a simplified unicorn horn or something like that. But I kinda like how a lot of them have this kind of nature looking horn that almost looks like a branch or branch, branches rather, right? So I think that's, we're going to play with that and maybe add some detail into it later. I'm going to rough in the eye here and stuff. And again, this is just plotting it all in seeing where it all goes. Maybe put in the forked tongue. I don't know how visible it will be later, but I want to have it there just in case some rough in for teeth just so I can get the ridge of where they're at. All right. Cool. Okay. Now I don't know if this is looking at anything like anything to you, but it's starting to for me, right? Okay. We're gonna put in these cool little whiskers, right? I kinda like to have them nice and flowing and sweeping and stuff. I got very magical looking whisker. I would guess it's a whisker. Yeah. Let's go with that. And I might tweak it a little bit and stuff like that. But right now I want to flesh out the skull little bit more. You know, I kinda had roughed in and I don't think I was very balanced withdrawing it in here. There we go. Got a rough the chin and a little bit more. Flesh it out a little bit. Cool. Yeah, I think that's the skull. Now, when we're bringing the body back, it's important that we keep a lot of form with it and stuff I got right. Whenever we're following this kinda what is it like, snake-like pattern or something like that? I think that what we can do here is, yeah, what I like to do is use a coil method. And maybe you've seen this before, right? If you haven't use it, it's fun. You can just use this coil method to kinda give form and shape as you're, as you're going around. Like I said, I've got it already plotted out that general line, right? But this coil method gives me kind of a nice, you know, you'll see once we really get into it, it not only gives form and substance to this, to this kind of snake-like pattern and stuff. I get to a rope to whatever it is. But as you, as you go around, it'll give you the edges you can taper it off into as we get towards the end of the tail here kinda thing. And so this will help me a lot going forward to try to find my form. I think it's really important to defined. Oh yeah, I want to bring that a little bit. Alright. I want to bring it out, pass that coil, pass the body, make sure it looks a little bit. Stand out ish, right? Okay. I'm kind of following trying to find where the this I'm going to call it the center line. But it's not, it's actually like imagine the back ridge or something like that. Alright. And here's the underbelly. So this is going to fold under these kinda rib type things, do you I mean like these and this is where the coiling helps a lot because if I'm going to be rolling this and imagining that I'm underneath it, I get to follow that coil, the flow right. Roughing in the shoulders here. I'm still not a 100 percent on him, but, you know, I'm more focused on the form right now. Sticking with the body, the underbelly here, working on the coils and stuff I got bringing this body all the way around, right? Here we go. So I'm going to work that under part. And he's twisting and turning. It's not that he's, you know, it's it's all going to be straight as it looks at you the whole way. I want it to be able to see that, you know, I I see the top of them, I see the bottom of them. And it switches and twists and turns, right. So you're going to see how long can a roughing in the top and then that center line along the top, it's going to shift a few times and stuff like that, right? I'm kinda following where I would like that center line maybe roughing in the hip joints a little bit and stuff right? Following that are nice. And now you're seeing like how awesome these coils are, how they really help the flow and in keeping yourself organized into where you're going to put things right? That underbelly curl coil type of thing, right? You can see it flowing underneath here. It kinda is going to disappear as the top portion kicks over a little bit right along the top there. That's what I want. Perfect. Well, I don't know about perfect, but progress. Sometimes creating characters and stuff, it's perfection isn't always there. Sometimes you're just looking for progress and stuff, right? So I want to roughen a little bit more on this head. I want it to stand out a little bit more because I feel like it's getting lost in my sketch here, just sold for my own. I, I can kinda make sure it's punching forward the way I want it to and stuff, right? Okay. Alright, so where should we had next? I'm gonna kinda rough in the clause. Do I want them here? They can maybe be gripping something, right? Yeah. Okay. We'll see We'll see. I'm kinda, you know, I've been kinda wavering back and forth on this where I want these and how I want these claws, right? This wouldn't be that bad if they're kinda wrapping around the arm a little bit, mean, gripping onto it a little bit, right? I think that could look kinda cool. So I'm going to go back here, start finishing off the body a little bit. Well, not finishing but working on the main trunk, right. Has it starts to taper off here. And now I'm gonna kinda like what I wanna do is kinda add these kind of wavy ridges to that center backline, right? Originally, I kinda wasn't sure about what these would look like. I've played with them a little bit and I'm starting to get into a really loose Cloud vibe. I had talked to the person that I'm designing this foreign stuff and I kinda gave her the elements. I said, Do you want when I was looking at these dragons, they seem to focus on clouds, water or fire and stuff, right? And she seemed divide with the clouds thing a lot more. So I'm going to try to incorporate that not only into the piece, but into the, the creature design as well, right? Okay, so we're going to taper off this tail. And then the tails can have this long flowing peace to them. Okay, so there's under bellies coming through here, but I wanna kinda have a disappear on a nice, alright. So I'm going to keep rolling with the underbelly here and it disappears, right? Perfect. What, again? Using that word a little too much for how rough the sketches, right? I want to roughen the legs. Rough and the legs and see if I can now see that one's hidden under there. And I'm going to get a plan to deal with that a little bit later that you're going to see. Because remember, these are almost on two different canvases, right? You know that I want to see if I can bump it a little bit so that I can have that that leg still there. Right. We'll see. I want to plot it out a little bit more and see if it works that way. Okay, so I'm adding a little bit of flourish to the, to the main, I guess let's call it that. And looking at it overall, thinking, not bad, right? The composition is where I want it to be, generally speaking, right? Still not loving the hands type of thing, you know. But we'll see I'm going to rough in some, some clouds a little bit, just Blob them in. I'll give him more detail in the final lines and stuff, right? I want to see how this all fits together. See if it follows my plan for the composition and stuff, right? If I can fit it within most of this box, but still have it kinda funky look. And like I said, I'm going to add these little swirls to the, to the clouds later and stuff like that, right? So I think so far it's flowing the way I want it to. I think I'm might trip myself up a little bit with coming underneath some of this for, you know, I want to separate those canvases a little bit. So I gotta I gotta be aware of that from her where I'm plotting some of these clouds and everything right? Coming off the end there. And I know this is looking at Heller messy right now, but that's kind of the intention, right. I want to make sure it's plotted where I where I had kind of planted out on MSM one. And that it's yeah, I'm not loving this hand here. Let's see if I get switched these up a little bit. I have a feeling I'm going to come back to these a number times. What if I move them up here? And then maybe sometimes it helps if I plot the hand first or the claw at the towel, whatever it is here, right? If I plot it where it's going to be, and I'm wrestling with how to stick it around here because I don't think the length would give it to me. Maybe I can get a gripping onto here. Yeah, that might work. That might be okay. You know what's funny? Because if you can have some interaction between characters, it's awesome, right? And if you don't have characters and you just have one creature, whatever, you can have it interacting either with itself or with the environment. So that's what I was trying to do there by gripping itself and one gripping a cloud. Maybe see if that plays in, right? Okay, So I want to kinda look at it and say, hm, I've got this rough red outline that I had plotted in, right? I think it's the direction that I wanted to go in. I think it's plotted out in the Canvas that I want, right? I think it looks pretty solid. Now. It, my sketch, it's looking sketchy. I'm going to fade it out here a little bit. All right. And now I think, yeah, I think this is kind of at the stage where mart start doing a little bit more of the final work on it and especially adding in a bunch of details that it deserves. All right, so I'm just gonna kinda fade things into the background here and stuff and get myself ready to add in those details. Listen if you're working on paper, I know it's tougher. I sketch really light on paper and stuff or a sketch with a blue pen, right? But on digital, yeah, we got layers, so we're able to zoom in like this or whatever, right? Okay, So these are possibly my final lines as I get into this year, right? I'm never quite say that for sure. Their final because, you know, there's always tweaks to be made and stuff. I got it right. Looking at the doing the ridge and the eyes here, I'm just making sure that everything's kind of plot it in. I still want this muzzle coming forward a little bit, right? Giving some depth to it and stuff, right. I'm going to add in the nose here and give it some more detail. Like I said, kinda reminds me a bit of a lion's nose to an extent, right? Not fully, but there's some similarities there, right? Maybe. And this is more like whiskers are pores or whatever and stuff I guess. Okay, I've got this big whisker coming out here, alright? And the big one on the other side here coming out. Okay? Kinda just drawing the base of it right now. Just so I can plot it in. I'm going to add the teeth kinda hanging out below here. Now let's see if I can bring this up. It's hard, you know, it's hard to make it even there's some all go and fix it later as I I just want to add these teeth and the lips, everything I want to get the mouth kinda rolling and everything right? For some reason they always got fat lips on these guys. I love it. I think it looks pretty cool. I'm going to add some teeth in between or in front of that forked tongue as a fade off into the background a little bit. Put that tongue in, you know what? I don't even know if they'll see it now Now that I've got it so hidden back in there after I put the gums and the details and stuff, I guess maybe all colored a different color or something like that. Let it punch forward just a little bit, right? Okay. I've got my chin here but you know what, I'm going to mess with his chin a little bit. I'm going to give him a bit of a goatee. A lot of these dragons they've got, I love it because they've got these flowing hair of indifferent, interesting spots, right? And so on this one I want to have it coming off of that. The chin. Let's see. Maybe kinda roughing in a little bit of the face a little bit here. All right. Okay. That's not look into bed. Yeah. Add more of that flare in there. The main flare kind of plot out the brow, see if it's lining up the way I want it to K. And then I'm going to add that, that mean flare here to write and I want to starting to circle it up a little bit more so it looks less like fire and flame. And a little bit more like how the theme of the dragon is going to be, and that's clouds, right? So I think. You'll see if I add more details into these, I'm going to add those little cloud swirls, okay? Okay, now we're gonna go back into these humps and bumps for the horns, right? We've got that one section here, the kind of base of the horn. Okay. I'm going to add some little ridge lines just to kinda plot it open. And this second base of the horn here with some ridge lines and everything. Okay. I'm going to, let's see, get myself up top here at stuff. Draw this, like I said, this kind of nature looking branch horn type thing coming out here. You can do it as much as you want. Like I've actually seen like bushes like little trees and bushes put on the top there and stuff for him. And it gives this kind of earthy feel to it, this elemental feel, right? But for now I'm just sticking with this kind of branch type look to it and everything like that. So I'll give a little bit of detail in there. Perfect. Okay, I want to add the flare, the waves coming off the main a little bit off the jaw on stuff again, rate. I'm not loving how this is looking too much like fire though. Oh, hold on. Yeah. I messed up. I forgot to add the second base. Oh, no, no, no. There you go. Okay. So I'm kinda covering it up with the back of the main of this creature, right? And a little ridge on the nose. I'm going to go back and fix up basin a little bit. I think. I just want to add some details in here and stuff. I kinda, you know, sometimes I bounce around a lot and it's kinda whatever holds my attention a little bit. And I don't think there's anything wrong with that. I think it's okay. You know, it's okay to jump around a little bit, right? Nothing wrong with that. So here's the base where I messed up and it's an easy fix. I'll just come in and kind of erase it and add that kind of hump too. That last bump that gives them the horns are kinda base. All right, let's see if I add some little bit of scaling going on here. This is going to be a bit of an experiment for me. Playing with the scale is seeing where I like them, where I don't, I'm kind of going with a soft triangular pattern and stuff, right? To see how it fits. I think that's the overall theme I want is this kinda mountain type of ridge looking thing, right? For the scales. Okay. They're going to be larger than going to be smaller, but yeah. Now that's starting to look like more detail, right? You know, it's starting to give a lot more punch to this creature. What do we think? Maybe put them under the eye. I'm trying to think of different spots to put them right, to see how it looks. If I put these under the eye and might give some punch to the eyes and put them randomly little scales around in different parts of the face. Now, I can't say I love the eyes right now. Looks. We'll see. Okay, let's see if I add some stuff to the brow here and stuff and see how it plays out, right? This is a lot of experimentation. This is what you should be doing is just kind of playing around and seeing, you know, does it work, work for you? Does it work for your vision? These are mythological creatures, so it's not like a definitive no, you know? Well it could be maybe in a few cases, but a lot of times it's just like this kind of works are kinda like it, but kind of not right. So that's up to you a little bit, right? The only thing I would suggest, and what I've suggested to all of these units is for you just try to stay consistent in what you're doing. So if you're, if you've got these scales and you're working them in a certain pattern. Don't flip patterns unless there's a reason, right? Okay. Stay in that pattern. Yeah. I'm not loving this thing under the eye. They're driving me nuts up-close. Not horrible, but from a distance, they it looks looks kinda like I make up or something like that. Right. So maybe I'll just thick and underneath the eyes here for now and then see if I ever come back to it. That looks so much better. Yeah. You know, not every choices is a when. Not every choices, it's going to be successful and stuff like that, right? You might have to plot something out. And then just kinda say, nope, got a backup with the digital work. That's where it becomes really easy, right? You're able to just hit that whatever key you've got programmed in and stuff I get so it helps. But don't be afraid to erase, right? You know, I'm gonna take a bunch of attempts doing these giant whiskers and stuff I got and I'm going to be erasing, right? You know, it I like a free flow of my hand to, to kinda follow along. And that doesn't always work the way I want it to. Sometimes it flattens up where it shouldn't. Sometimes it's thickens out and stuff. I got it. Right. So I'm going to come in a few times and erase, erase, try again, erase, erase, try again, erase. Get frustrated. Walkaway. Then come back and maybe try it again. Oh, no seat. No matter what, there is an easy frustration that comes with this, right? That it's not doing what you wanted to do. There's some digital tricks you can use. But right now what I'm wanting to do is just kind of free hand at all and flow as if I don't want to use too many digital tricks. Because I know a fair bit of my students are, are on pen and paper and stuff I got right. So I'll do a few things here and stuff I get, you know, like the easy erases and that kinda stuff. But I don't want to do a lot of copy pasting or anything like that. I think I want to leave that for yeah, I don't want to do a lot of digital tricks or anything. No copy pasting, I think I want to, you know, we'll leave that for another course or some character designs and stuff. I want it that any student can sit down in any medium and kinda try to bust these out and stuff, right? So are right. Now where to next. I think I want to do the underbelly here and see if I can kinda roll it. There's all be a lot of details here and stuff, right? So houses underbelly going to look, where's this body coming from? The body rolls around a little bit. Comes underneath here, comes over, swoops. And that's kinda ugly. Swoops over and carries down. Right there we go. Okay. So that's part of the underbelly, this part up top where I'm going to put a rough in that shoulder. They're a little bit right. And that's the part up top there. I'm going to put these back ridges and I'm starting to turn them into little bit more cloud looking, you know, I don't want them sharp, right? That's sharpness was going against my designs and stuff of what I wanted here, right. So I'll probably go back and fix most of them. I'll put little swirls and squiggles and all that kinda stuff in their right. To keep with this cloud technique. Yeah, there we go. I want to take away some of that sharpness there. Maybe even than the horn. Do I want to do that on it? I don't know. No, I might revisit that later. I'll leave it for now because, you know, like I'll just see how it kinda progresses and stuff I got and then see if it fits with it. All right. A lot of times you'll throw something out there and then it's okay to leave it like, you know, what I do is before I go to the next stage, that's when I start really looking at first the sketch stage than the lines. And then I don't bring it to colors unless I'm really happy with each part of it, right? So let's start to put in some tiles here and see how the flow kinda goes. If you've got these, this is another way that, that coiling effect can kinda help you. You know that when I showed you how to do the coil pattern and stuff, I get to get the form. Well, this will also help you. Let's say you're trying to find the circumference lines or whatever around, around this particular creature, right? You can see how the coil helps in that, right? I can kind of follow those lines, right? It's not set a 100 percent, but it sure is a nice little guide that helps me without it. I think, you know, uh, be easy to get mucked up a little bit, get a little bit lost and everything right. To get mucked up no matter what he thinks he's been with some exit everything 8. So don't worry about it. Don't ever expect to be perfect with this stuff right here. You're going to mess it up, right? Just enjoy. Try to flow as best you can. And then look at it later and say, Oh my God, what did I do? And you can go in and fix it a little bit. All right. I'm just wanting to see how these scales play out and they look pretty much how I imagined them. I'll have to clean them up a little bit later, put some bigger ones and in a few different places here and stuff like that to kind of match it out a little bit, right? Sometimes you want to go with scales from small in like in bendable places, say for example, fingers and around the facial features and stuff like that can really show a lot. And then you want to get larger in the larger body sections and stuff, right? Okay, So I'm doing the underbelly here. This is where we're going to try to try to have the kind of the what I would call rebuts the underside of the snake or something like that. Right. You want to show that they are following a nice flow to the circumference of the creature and stuff of its, of its form. And these will really help you show the curvature of it. All right? If you've got it right, if you've got the bend correct, they're going to help you with the flow. You can add a little bit of effects on there and stuff like that to show there is, there's not just flat that there's some details and that can be punched up if you do more line work or something like that. If you're, especially if you get into colors and you can kinda see how it's starting to work here, right? Yeah. Yeah, I think so far it's looking okay. I think what I might do though, clean this part up just a little bit. It didn't quite flow as well as I would've liked. Alright. And that's okay, I have a feeling I'm going to redo this a few times. It's want to add some punch to it here a little bit. Okay? Not bad. Yeah, It's getting there. It's getting there piece by piece, right? And this is a huge, huge piece. You know, I know that the, this unit is a little bit longer in time than some of the ones that we've done before. Don't stress it. Um, however long it takes us, however long it takes, right? I'm not gonna do the whole thing for you here today. I don't think going into the colors and all that kinda stuff all review at all for you and everything, right? But I want to hit on some key details. The face was a big one to me. And now the hands are clause, right? If you've ever gone over the bonus unit I have in this, in this course. The, what is it called? Paws, claws, talons, and hubs, then this will be super easy for yeah. Okay. Kinda roughing in where the knuckle bumps would be and everything. And then adding in the clause, I might change these claws and grip them into the Cloud at some point, I'm not too sure. I have the palm kinda resting. They're a little bit of the tendons and bone showing. Right. And there we go. Have the shoulder. Oh no, this is the back leg, right? Kinda hip. They're both quite small on this creature, right the knee or whatever joint we might call that and stuff I get down into this claw, right. Not bad. Yeah. I'm I'm kinda dig in it. But you know. Yeah. Okay. Well, let's see if I had some scales in here. There's still something bugging me here. What is it? Adding skills, especially to the small ones, to the knuckles and to the fingers and stuff like I can really give a nice look to it and everything right. That okay. So far, skills look right there, fitting everything looks we're kinda where it should be. I don't know, but some still bugging me here. Let's see. Yeah. That claw looks awkward as hell, especially that one finger type of thing. Alright, I want to get rid of this. I don't like how it looks. I feel like that thumb opposable thumb, obviously in most cases are is on the inside towards the inside of the body. So I'm going to put it over on this other side here and see if it reads a little bit better for me and stuff, I get, alright. Yeah, yeah, I think that's, that's the better choice, right? And listen, you can get this weird tunnel vision when you're working in stuff again, not everything is fitting the way you wanted to and stuff I get her or, you know, you've plotted something out. You're like, okay, this should work in. And then you sit back and you're looking at it. I'm like, Why isn't this working right? Take a breath, step back and look at the fundamentals of it, right? I'm working back into these clouds, not clouds, the Bactrim, that center line trim. I'm going to put more details in this. When I go and finish up the line work, I think I just kinda wanna rough this in and put the, put the main body in here and stuff, right? Okay. And a lot of details here. It's kinda hard to escape them. There we go. I'm trying not to draw over draw through a lot of the stuff I've already laid down. It's a little hard to see through it sometimes you don't. Like. I guess what I could do is back out this digital sketch a little bit more and that might help clean it up for me a little bit. But I don't think that's the key key problem here. I think I'd just, at a certain point you've just got tons going on. Alright. And that's okay, because that's part of the nature of this beast, right? Is there's a lot, a lot of details happening on this thing. So I'm going to bring up that back center cloud line. All right. Cool. Yeah, I'm starting to get the hang of the swirls and I think I'm going to go back and redo a bunch of these and stuff I got, but I think you're getting the drift of what I'm trying to accomplish with them now, right. There we go. Yeah. I think this is kind of fitting, you know, it's going to fit where I wanted to. I think what I might do is darken this up a little bit. I want to punch this head forward and I'm not sure what I'm going to do with the line work later. I don't know how I'm going to color this. Haven't really thought it out yet, right? But for right now, as I'm working on it, I want a bit of a thicker outline on on whatever it is that's that I want to punch that I want to bring forward. And in this case, it's the head. I want to give more detail into the head, a thicker line to help it separate. Here we go. Yeah, I think I might add more swirls into this section. Just kinda outlining the head a little bit. This is not a halo. Sometimes you'll see haloing, which is a pure outline of a character or something like that, right? That's not the same thing. What I'm doing is just darkening up focus points and stuff. Right. Here we go. It's already pretty thick on that one side there. Do it on the other side. You know. I don't know. Sometimes with these horns, should I have them sharp? Should I have them blunted or are turned a little bit? Yeah. I think I want to keep him sharp. Sharp like like I said, like the tree branch type of thing. Right? I think that's the look I'm really aiming for for it. So I'm going to have to go fix it other one later. But for now I still want to keep this kinda outline flow going and stuff, right? So you can see it separating out. Give a little bit extra there and there we go. Okay, so you can see how the head punches a lot harder now, right? You know, it's, it's sticks forward. And of course, that can be achieved in coloring or different types of inking and stuff, right? I sink though for now with the line work, I don't think there's anything else I really want to show you. I'm going to maybe go in and add a bunch of details myself and see how it finishes up, clean up some things. Like I said, I want to clean up the clouds, especially I've been pretty sloppy and lazy with how they look and everything. Right. So yeah, yeah. I don't think there's any other details that are really the face, the hands, the composition, and the flow of the body. With a little bit of details of scaling and everything. I think that was really the lesson I wanted to show you as we move through it together, right? I think moving through it together. It's tough. It takes time and it's
10. Drawing Werewolves: Hey guys, In this unit, we're going to talk about a classic, The Werewolf. I was so late. But basically we're going to match a man and a wolf, kinda studying bits of both and see what we can do here, right? That's good. Okay guys, we've got a cool unit here in front of us. Yeah, this one's a big one. So listen. If you haven't taken a potty break yet, now would be the time to do it because it's fun, but it's gonna take us a while to get through this. Okay? So what are we looking at here? We're looking at where wolves echo, echo, echo, echo. Yeah, werewolves are cool, right? And there's gonna be a few things that I want to get into with them. So let's get cracking. First up is the wolf. Now i've, I've sketched all three wolf heads here, right? And I think what's good to do is to understand the basic structure that goes behind the wolf head. Okay, so we've got this, I'm going to start it from the side here. We've got this kinda was basic circle looking thing, right? And then we've got an, a cylinder that comes out from that. Okay, It kinda think of it like this, right? So if I was to draw it over here, I could have my middle line circumference, and then I have a cylinder on the mouth that juts out to this side, right? Okay. You can kind of think of it like that, right? Let's see if you can draw it down below to just to practice it up a little bit. Here's the cylinder or the circle, the circumference, right? We're going to draw what would be the attachment of the muscle. We can choose how far we want it to come out, maybe about like that, and then start to connect the points, right? Do it off to the side here again. Here's where the muscle would touch, right? Comes out. One cool thing of note is that you'll notice that it's a little bit of an angle here, right? So you want to kinda come in, bring it in like that, right? Okay. And then from straight on, it gets a little less glamorous, but it's still the basic thing, right? Circumference line down the middle, the muzzle point, and then it comes forward to the box at the front. Okay. And then like I said, sometimes I have these kinda shaped lines that help follow it, right? Okay, so this is the basic wolf, but that's not what we're drawing here. I've got a lesson on wolves in my anatomy unit, right? But we're doing something different here. We're doing werewolves. So where do werewolves differ? Well, in my opinion, it's in the personality. So this looks like a wolf. Yes, of course, right. But how can we change it into a werewolf? Well, one, I think give it a heavier brow, give it more personality in the brow. Okay. So if I was to come in here and here's my eye line, I might add in some personality here, right? You know, big heavy eyebrows or something a little bit more humanoid or something, you know, a little bit of a human look to it with, you know, you can have if you want rounded eyes here and stuff, right? Okay. So we're kinda going that way. We can have the bit of the brow up here. I think we can still kinda take the shape of what's going on up top here. Maybe make the eyes a little bit smaller, or sorry, the ears a little bit smaller depending on what you want to emphasize and stuff, right? But I like this brow here. This is important in my mind. Okay, So we're gonna come down. Next thing that we're coming down looking at the nose. I think the nose will stay basically the same. You know, we've got this kind of shape that is this kinda T intersection kinda looking thing, right? With a little bit of a under scope or score under there. What I would do is, you know, we're, we're putting personality in here, right? So we can start to bring this snout in and have these folds, right? And that kinda stuff, right? But we want to bring this out to the cheek as well. Okay? So we're starting to see how this almost as starting to look a little bit human-like. We've got this this cheekbone here that maybe wasn't all that prominent in the dog, right? It's kind of buried under a bunch of fur, but in, in the, the werewolf, we want to keep it up a little bit, right? We can still have this for coming off to the side, right? We will still have this hair coming off this side and stuff, right. But we want to have some kind of a bit of an outline of the cheekbone to give it a bit more human look. So you can kinda, you know, run the cheekbone, run the heavy eyebrows and stuff like that, right? Just run with it. We want to have and these lips, not really Zhao's, but part of the lips coming off here, right? And then they can come up into the cheekbones and come this way. If this makes sense. And then we'll kinda zoom in. And, you know, we can either drop the jaw down or even right now we'll just have it the same as the one up there, right? We'll have it come down here, come around, give it a little bit of shape, and then give it a little bit of puffiness in here. And that can come over into the into the cheeks. Gay now. You can even flare it more if you want, right. That is starting to look a heck of a lot more like a werewolf, right? This looks like a wolf. This looks more like a werewolf. We've given it some personality. And how did we do that? We added in the Browse. All right, we put in a heavy, more humanized, humanoid brow into, into the mix. Okay. We added that brow, right? What else did we do? We had the cheekbone coming in here. So really making it look a lot more human, right? We can bring this in here, the small little nose, right? Okay. We can still have the normal mouth function, but realized when we link it up and coming to this cheekbone here, right. Okay. And then the mouth underneath here. Okay. Yeah, that looks cool. So then we would just, you know, we can bring the head back into here, you know, the keeping consistent with how we did that, the werewolf and that one. Maybe shrink the ears a little bit to big ears. Sometimes signifies a little bit of cuteness and stuff, right? We want to downplay the ears and emphasize either the mouth, vowels. What we can do if we want, we can even have stuff hanging off the mouth down here, right? So if we want to come down here, we can have a little bit of chin hair or something like that. We want to emphasize this area, right? Okay, so what I'm hoping you're doing is I'm drawing this out and I'm hoping you're drawing along with me. All right. I'll give you a rough sketch here to work with. But yeah, this is what you should be doing is working along with me here, right? I'll leave these sketches down here for you to do it with. So what are you focused on? Focused on the brow, emphasizing, right. Focused on the cheekbones, emphasizing the mouth, emphasizing, and then de-emphasizing the ears and stuff. Okay, so that's what I want you to do for these, these Wolf's heads is to make them more humanoid. Okay? Because that's basically what we're doing, right? We're, we're trying to capture the essence of the wolf, but not copy wolves. That's a little bit of a difference. Okay? All right, let's move on down to humans. The werewolf is obviously part wolf, part man, woman. Maybe. That'll be cool. I don't know if I've seen a lot where women werewolf women. Well, anyways, some of the key factors, and I'm going to start from the side here again, is delayed. Now, I've seen werewolves drawn with a full human leg and that's fine. You know, you've got your your thigh here, your knee and stuff. But we also know that if we draw dogs legs, that might give an extra emphasis, right? And so the system works pretty similar. Here would be the calf slash shin, here would be the heel the heel bone. It would come down into the foot and then the Paul would be here. Okay. So think of it. It comes down here, comes down here, bends down into here, and then there's this pause down here. And that's the way it would work if we're using the dog leg type of scenario. Okay. So I want you to practice that out down to the knee, down to the heel spur, and then down to the Paul. Okay. And you can fill it in how you like working some different angles here. Maybe this kinda three-quarter angle, right, This middle is here, right? Back to the heel spur, forward a bit. And here might be the paw, something along those lines. Okay, so you can try to fill it in. Once again, you know, think of the upper leg here down into the knee, back down because it's going backwards here, right. So this is slightly going backwards into that heel spur down into what would be the Paul. Right. And hopefully you've already taken a look at my paws, claws, talons, and Hobbes video rate. So this should be not so unfamiliar. And then you come down here, you've got the knee, you're going back into the heel spur forward into the Paul. Alright. So come back into the heel spur forward into paul. So you can do that again, right? So what you wanna do is, and this is, you know, it's always good practicing that. That's simplified skeleton that I've roughed out for you, right? Okay. So that's what I want you to doing is practicing this, you know, we can draw it the top part here, right? Here's the head. Here's the basic Chevron. Here's the hips, right? We're going to work on down to the knee. And now I want you to draw in the bent dog leg. Alright. Okay, so we've changed the head, we've changed the legs. One extra thing I would say is if you want to, and again, this is personal choice, but you can lengthen the arms a little bit. How the arms a little bit more be steel, right? Have them coming down a little bit longer, have the hands more of a claw type, right? So this might, you could plot the arms and the hands out down here and then figure out how they get there, right. You could do something like that. If anything, what I would maybe do as keep the upper arm a little shorter. Like the bicep could be almost reasonable like a normal mans and stuff again. And then this forearm could be coming in much longer and with claws coming in and stuff like that. Right. Okay. So yeah, make the form much bigger, much longer, and then it comes into the claw, is a cool. So now we're going to combine it. Let's see, where do I go room on this still. Yeah. Okay. So coming down, maybe I'll use this space here. I'm just gonna kinda rough in something here. Maybe rough in a bit of the torso. Over top here. You'll see what I'm kinda getting at in a second here, right? Here's one shoulder. Maybe here's a shoulder going back. This arm could be flailing back a little bit. Alright. I'll put the head somewhere around here with the muzzle. Somewhere here. And you can see, I'm just kinda totally just trying to figure out how to things, how things might go. I want to put the hand foreshortened here. So then, you know, if I was to find the way the elbow would be somewhere there. Right. The hips are behind. So this is going to come forward into the knee. And yeah, things kinda disappear behind that. Right back into the heel spur, back into the foot, and then the foot come down there and maybe the other foot might be missing. Okay. So this is a rough one. Why don't I go into seeing how I might finish up the lines just a little bit. Alright. Not really finishing, but just fleshing out here. Here would be, you know, I could come up here. Here's one digit, right? Here's another digit. Another one, another one, 1, 2, 3, 4. And I guess underneath, I can have more of the opposable thumb or something. Now it depends on how I want to draw this. I could draw it more like a dog. You know, we've talked about Pause. And so I could have the the pause themselves retracted into the fingers if I want. Right. I think that's more dog-like. It looks more like a Paul and I could even put into the pads here and stuff of the dogs pads room. And again, this is just rough. I'm just really sketching things in here, right? I could make it into more of a claw. But it feels very cat-like to me. I don't know. I think I might still play with this a little bit and see where I'm going with him. Okay. So I've got the forearm coming back here. Very rough so far, right. Into what would be here's the chest, the shoulders here. Right. And then the triceps way back there. Okay. So I've kinda got this. Maybe I'll just outline a little bit better for you so you can kinda make it out. All right. There we go. That punches it a little bit further forward. Does that help? Okay. The main thing next up would be the head. So if I come down, this is the middle of the circumference, right? So I'm going to come here and I'm just gonna kinda, Let's see, start adding some brow, right? Huge stress lines and stuff, right? Okay. So the main thing is like, much like what I said before, you can draw wolf if you like. And it'll look right. There's nothing wrong with drawing a wolf. But what I would rather see as we draw a werewolf, and that's slightly different, right? We want this humanoid form, right? So we can have this flare around the nose and these wrinkles and stress, right? Have the eyes coming up under here. Maybe I wanted to bring the eye up. Well, that's looking really butchery. Back that out. Just a little bit. Cool. Okay, so I've got this and then what did I say? I wanted to come underneath, grab some some of the the upper flare of the lip, right? It's going to come up here and I want some cheekbones. So I could think of a landmark right below the eye to draw the cheekbone in, right? And this'll come down into here. I could put a little bit of the spots that we'll see on a dog. Dogs have much smaller teeth compared to like, I don't want to give it like teeth, like a cat or something, you know, I wanted a little bit more scary. But not Fang ish, not exactly things, right? So what I'm trying to do is make teeth without necessarily, oops, making things if that makes sense. You don't link. I'll have canines or have the set of teeth that are supposed to be there. I just want to still keep it looking like a dog's mouth rather than some type of cats. It's, it's really tempting to get into like a cat like features and stuff. And I want you to try to stay away from that, okay? Unless you're making some type of where tiger or something, then that's cool too, right? Okay. So we've got this. It's leading up. The jaw here is all leading up to these cheekbones and stuff, right? You can even bring this up more, up into the brow, making it more human. Up top here, what did we do? We've got some for just roughed in. We're going to have a small little ear, small little ear, right? You can make it a little pokey. And then we can bring it out to the side here. And then even out and down, right. We'll bring it out to the side here. And then out and down little bit. Alright. See if that makes sense. There we go. Okay, so that's looking kinda cool. It looks like some type of werewolf so far, right? We can start to add in, you know, if you know your anatomy, you can start to add in some of the muscle groups, but you kinda doing a bit of a hybrid between what would be the muscles on a wolf versus a human, right? I would say air for the side of the human part of it. Right. Okay. So we've kinda, we're just roughing it in at the stage. Coming back to here. This would be the shoulder coming in, maybe down into the bicep. And remember I said I wanted a longer form so, you know, it can kinda come along this way. But you can have heroin coming off of it, right? And then the Paul I'm starting to branch out a little bit here, but you can have the Paul coming around this way, see if that makes sense, right? So we've got this Paul coming nice and close up here, right? And I haven't really added for yet, but once again, this, like I said, this is just kind of doing things rough. Here's going to be that front knee coming under. And then back here. We said delay comes down, it comes into here, and it comes into what would be The Paul, right? So this is the Paul unit and can be curled under a little bit here because he's kinda lunging, right? Okay, yeah, that's looking kinda cool right? Now. Here's the big debate. Tales. He had a tailwind to it or not? I am generally no, I'm not a big fan of werewolf tails, you know, like if I'm looking at it, okay, where would it comic come off of here and come in and stuff and drawing through. We would really only draw it this much or something, you know. I don't know. I think it almost looks comical As soon as we start to edit a tailwind to it and stuff, right? So it's really up to you if you want to put a tail when I tried to avoid them, they're not really my thing, but you know what? It depends on how your liking, your character and stuff and if it, if it's fitting into what you want for your, your werewolf design, right? So add a tail, don't have a tail. I'm saying It's up to you. Right. Is that cool? Just adding in the pads here and stuff for him. Cool. Okay, so here's a bit of a rough werewolf, right? And of course, you know, once if you were to go in and start really roughing out the hair, getting the fur lines in and stuff like that. Getting it all bristly, it would start to look even more wild, right? It starts to, starts to take on this, this feral look, right? So depends how clean you wanted. Depends if you want to put torn clothes flying off of him or something like that, right? Pants or a torn tee shirt or cloth. There are flying off and stuff, right. Did he just transform or is this a guy that's been here in this will form for a while or something, right. And like I said, it's kinda up to you if you want to put claws are actual like nails and the clause and stuff. If you were to do it, I wouldn't do it much like a cat, you know, just kinda put them in just a little bit, something like that, right. Because canines do have nails, right? They are there. They're sticking out. I just don't like to see them huge retraction and and and protraction, right? Like I like to see them just kinda either just roughed in as a bit of a darkness or smaller ones here and stuff, right. So let's go with the smaller ones. I think that looks pretty cool. Okay. We forgetting anything on this guy? No, I think he looks kinda cool, right? I'm going to have some. But a movement around them, right? Cool. Okay, so to recap, we want to learn how to draw wolves, right? We want the basic construct of the wolf. We want to be able to draw that. That's simplified head, right? The circle, the center line, the muzzle area, and then where the muzzle ends up and then start to draw it in, right? Keeping in mind that the muscle is actually slanted back down, back down this way, right? And then once we start to transform it into a werewolf, we add the brow, right? We add cheekbones. We can add a little bit more detail around the mouth. More personality. You can try to throw a smirk into it. All right? Okay, and then we make the ears smaller. Cool. That's the, bringing the wolf into the werewolf right? Now, bringing the human into the werewolf. Well, like I said, there's a few different things. I think this gets into design choices and stuff, right? You can have the dog leg coming back into the heel spur down into here. Right. Okay. The dog leg is one. A tail. It's another one. And see, every time I draw this tail, I kinda crack up, right? It, I don't know if I, I could really keep drawing a werewolf with the tail in there. I'm sure somebody's done it. That looks really cool and stuff like that, but for some reason it doesn't hit. It always looks funny to me. I don't know what it is. And then maybe just lengthening the arms a little bit. This is maybe widen it up, put a bit more of a hulking physique, do it, and then widen these arms, you know, have, have the hands come the outbreak way below the crotch line and have enlarged hands and stuff, right. And then we put it together and have a werewolf lunging at you, right? I think it looks pretty cool. The one thing like I said before, don't get into too many cat-like details. Still keep it. The wolf. Keep that longer muzzle, yes, you can have a tongue in here or something. You can have teeth and stuff I got. But try not to try to get away from the cat features. Make sure you protrude this. The snout a lot and stuff I got. Make sure this comes forward. Really make sure you're feeling that the depth of coming forward off off of the muzzle and stuff. Okay. And then adding in the details of the cheeks and all that kinda stuff. Don't forget the depth in the eyes, right? That'll be a big key thing here. Cool. Okay guys, I hope this was a cool unit for you. I hope that you enjoyed the werewolf, and I hope that you're enjoying this whole monsters, legends, weird creatures type of unit 4. Yeah, and of course, I'm having fun with it because I get to push proportions. And I get to combine some of my passion for anatomy and cool little animals, right? Okay. I hope you are doing your homework because it's important, you know, make sure that you're, you're drawing this sheet out on your own and coming up with some of your own stretched and pulled proportional creatures, right? Because that's what it's all about guys. Keep practicing, keep at it.
11. Drawing the Swamp Creature: Hey guys, we're back with another video unit here for you. This time, we're going to be talking about a swamp creature. Yeah, I think, you know, we've seen swamp creatures kind of drawn in different ways before and stuff. My focus is going to be impart how to render a texturize that swamp creature, but also how to do a bit of a character turnaround. Okay, So this is a little bit, when we get into character creation stuff I got, we want to know how to draw it from different angles, that type of thing right? Now. Here's my warning ones again, before you do this, I hope you've done that simplified skeleton course that I threw in at the beginning of class that I committed to being of this course. Okay, that unit is going to help you tons here. So let's take a look. We've got this normal looking person. Why she don't really super looking right? We're going to have a dividing line going down the middle. You cut it at the top. Cut it at the bottom. Well, see, roughly about halfway is here, right? Here's one head, two heads, three heads, somewhere above the belly button or so. Okay. Come on down and you've got another head. Well, actually there's caught shipment bit higher, I think because he's got some hay, right? There's one at 20 heads, three heads. And so roughly this is a eight headed character, right? Okay, so we know that we can do the little torso chevron here, that hips, the shoulders. Like I said, if you've done that simplified skeleton, this is looking pretty normal for you, alright? But this is where we start to throw some variation into it. Let's do our center line right next to it, okay? Uh, let's change some things up. I want to move the legs, like the crotch level down. I want to make the head here, but I'm thinking I'm going to have the head maybe about the same size or so. But then I want the shoulder width to be much wider than the one we've got going on here. Okay? So it's gonna be kinda out here. Of course I'm running into a little bit locker room, but that's okay. I'm also going to put the hands weight lower. Okay. So then the elbows come kinda come here. I'm going to put the hips in here and then we'll put some type O, Big Feet, this type of thing. Okay, So look at what I did there. I exaggerated the torso. This from here to here is 1234400 BIT or something like that, right? 1.52344 and the bottom here is maybe 1, 2, 3, right? So the torsos got the bulk of what we're working on here, right? That's purposeful, that's what I want. But what did I say? We're going to do a turnaround. So from the front, Here's the center line and everything, but I want to turn it around just like how this character center line is starting to turn. We've got the chevron here, right? Starting to round out the Chevron. Here's the hips, It's starting to round out here at this type of thing. All right, so how would I do it? Well, I'm gonna see if I can carry this over, carry this line over a little bit. So I'm going to have that up to here. And it's going to come something like this. It's still going to be wide. But if we know, we'll put that shoulder Actually, I'm going to make these bigger. We'll put that shoulder here and then kinda draw through on the other side will have the big chested, the center line coming down this chest, right? And keep going down. Here's the hips and we're going to have that center line and the hip kind of thing. Right? Hands are down to this level. So here's one hand. Here's another hand. You're going to come down to here, Apple's roughly partway. And then we've got the feet and the feeder starting to go along this way, right? And the head is starting to turn slightly. How we design, like when we will get into details even more later of how we want to design this swamp creature. But I wanted to swamp creature to be wider than the average person, but to have these ridiculous li arm logs are long arms. I don't know why, but it's just I want to show you guys how to kind of mix and match proportions here. Okay, So we're going to carry some of these key points along belly button, crotch, feet, head right here is from the side. We're going to put this big old torso in here. The hips in here. Now the center line is in the front here. This big shoulder here coming down to the hand that is here. Something along those lines. These legs come down into big old feet down there and then we've got the head there. Right. Okay. Does this make sense? So this is straight on, this is partial turn and this is full facing to the side, okay? As we can see here, right? But we mess with these proportions times. Wider, huge or torso is the maintenance. Right? Next we're going to start talking about adding details and tours form creature. We've done a little skeletal turnarounds, right? But then we're going to look at a swamp. So I kinda wanna zoom in here a little bit and talk about textures. We can see these are a bunch of lily pads, right? So we'll have these circular textures and maybe some, something coming from them here. I mean, like some branches into winding with them and stuff, right? So you can draw the circular textures with some stuff in between them. So that's one texture that we can, and they can be overlapping. There can be some that are on top that are more dominant, right? Okay. We've got, as we pan over here, we've got branches, branches finding their way, right? Some are bent, some are crisscrossing with various types of leaves at the ends and stuff, right? Some almost like bristles. Little bit wider for some. Most what I think of it like a banana leaf or something, right? So you can have, what I'm doing here is I'm trying to think of, well, if I have a swamp creature, I know I've got the skeleton. And then what I'm going to put it on top of that skeleton, how am I going to form in the meat ball and trying to think of stuff that work for, for something that's rummaging through a small, right. So all these leaves at her or branches that are crisscrossing, some are bad, some are broken, right? Okay. Some are coming off of a mainstem. We've got a bunch of Bush happening. So I'm starting to combine things. Now I'm looking at these little leaves here. I don't know, almost look like kinda marijuana leaves. I don't know what's going on here. But this kinda leaf formation, right? You can do it kinda like a sharp like this rounded out. You could have a branch going order sharp branch and then have them jutting off of it, right? Okay. We can see they can go wider. It can go sharper. Right? So you can work with these different patterns and see. No, okay. What would I like? What am I liking here? I like some of what I saw earlier with the little lily pads. Maybe a bit of moss growing on something, right? Like, you know, rounded loss with a bit of texture in there and stuff. Or I like the texturing of the bristles. Some of the bristles for the sticks. I like sticks. They're sticking out bent sometimes, right. Looks like they're snapped. You know, when you think about that, like something huge making its way through the Django or swamp or whatever, twigs, bushes, everything's gonna get stuck to it, broken off, all that kinda stuff. So as we're designing characters were thinking of, i've, I've already taught you before about combining characters and making them still kinda functional looking and stuff, right? But you will also want to place them in their environment. And specifically, that's why I chose this small creature, right? So how do we put it together? Okay, so I've kind of done out this rough sketch. The poles really doesn't matter. That's not what I'm focused on here, but I'm going to start to look at some details now a little bit. Okay, so here's the eye line. And I'm gonna kinda come from the bridge of the nose here a little bit, right? Just to draw any eyes, I want them beady eyes looking things, right? What else am I doing here? I want to start to add in where I would have some of the main texture. So why don't I, you know, like I've already got, you know, I'm kinda adding the human pieces to it, the bicep here or something like that. I want to have a humanoid, right? So the forearm, the elbows here, the forums coming into here, right? But then I also want to have it kinda looking like it's part of the bush, right? So I'm thinking maybe stemming from certain joints. It'll be bushes and stuff, right. Or like leaves and stuff for it. I want to have branches sticking out, sticking out at different things. So keep adding in these type of Bush. All of these different leaves, see if they make sense. What I might do is have a bit of a branch here and then bristles. We talked about those crystals and stuff like that, right? How how that texture can look kinda cool, right? Yeah, maybe bristles along the back, crisscrossing a little bit. All right. And this is the neck here coming in. It, I don't want it exactly human physiology, but it's roughly following it. We can have some branches going through. I'm branches again sticking out, right, some leaves coming out here. Some of those bigger palm leaves or something and putting it into the back for the distance and stuff, right? And you can already see how this is starting to take shape, right? And then maybe in a in a certain location like around his chest. I don't know. I could have some of those little bit of the Lilypad patterns or something, right? Just in different bunches round his physique. Roll them around here would be a form coming into here. Right. Okay. So you can see how like I've kinda use that joint there. Maybe coming off of here can be a branch, some leaves flaying off of here, like splaying out right? Even off of the fist itself, right? Maybe I'll do something like this. We're going to have branches and moss hanging down, water hanging down, right? Yeah. Actually, now that I think about it, why don't we throw a minute bit of water here? Right? This hand is kind just dipping it into water. And so he would be standing, standing in the swamp right where trees are sticking up. So again, it he starts to really blend in to his surroundings and stuff, right? What else? Oh, maybe some connecting vines know like somewhat loosely connecting things that are flowing around him and stuff right? Here's the crotch. Sometimes it's just indiscriminate. Just leave patterns and everything, right? And I would add more in once I start start doing though the finishing lines are some tighter lines on and stuff with the knees. I think I want to do some type of leaf pattern for the, for the knee here. Then have the light come in behind it and then finds coming down into almost as if it was looking like a tree trunk or something, you know, it gives a certain stability. Now I might not draw this section down here because it's under the water, but that's kinda what I'm calling for us, like the stability of a tree or something like that. Alright? Especially in the, you ever see those almost mango, What is it? The mango mangroves or whatever. That's what I was thinking like where the the roots kinda reached down into the water and stuff, right? So I'm thinking of having that type of texture with the root in there and stuff. And then the knee has the kind of splayed out leaves and then delayed comes up from there with some roots, some leaves, that kinda stuff right down the middle. Maybe I'll have signify, you know, sometimes it's good to have a landmarks and everything, right. So I can still keep this middle thing, this middle line going down the chest and then just have leaves going towards it or something like that or coming off of it. Right. And then more of those lily pads and everything around. Right. So this is how I would start I would start to do my concept like this, roughing it out, right? Where I really start though is in this construction, I actually, I think I made a wider this is, the more it, so it's torsos may be about this wide or something, right? Do the character turnaround, make sure that you kinda get the proportions down, up. You want these big hands? And I kinda went like this bigger feet up to the knees, right there we go. And turn it around. Then start to say, okay, you know, what specific Can I add to this character that's not just proportionately different than a human, but in the outward appearance of it and stuff, right? So then I looked at it ball, if these the swamp creature, you know, what are the textures, what are the patterns of the swamp? What kinda things would I add to it, right? And then we come down and we can see while we sketch it out, even if you don't want to do kind of an action pose or anything like that. You kind of plot out the major parts of where you want it. And then you start finishing it up, you know, adding, adding in lines, maybe adding in color, adding into details and stuff, right? Whether it's, if you're gonna do a heavy ink, you'll, you'll lot in the inks first and stuff like that, you know, put it in all the blacks. And then kinda start to take away or add deal details from then on. Once you've got this pose down, it's kinda your choice, right? But you can see how this pose and this swamp creature was created out of the swamp, out of our ideas of what could be in the swamp, right? And that's the main point. This is, like I said, this is a little bit different than the other units. The other units we were just kinda combining known entities and stuff, right? This one we're creating. So when we get into character or creature creation, you start to really follow like some very basic premises. Look at what's, what's the environment of the creature, what's the movement of the creature? And that will influence the design. This whole form follows function type of thing, right? The form is his shape, his size, everything. What's the function? Moving through the swamp? Be a little bit scary. That's the function I want from this character, right? So hopefully I've achieved that if you're looking at them and you're like, yeah, okay, this guy looks like he could be in a swamp. Then success. And I'm hoping you were following along for some of it, but then I hope you kinda just went on your own way. You can put it in the leaves, bark, moss, water dripping whatever you want, put it in wherever you want, and make a creature of your own. You know, what I would really be happy with is if you sent me a picture, that creature I would actually love to see all these creations you guys come up with. All right, so this is not so much a homework thing of like practice, just practice. No, this is actually I want to see what you're creating. And it would be really awesome if you send it to me. There's no way I can enforce this. There's no way I could make you send it to me or anything. I can't flunk you because of it or anything, right. But I think it would be really good for both of us if you kinda have finished it up and incented my weight, whether private message on Facebook or whatever it is and stuff are. I just want to see it. I wanna see how creative you got with it, all right? And I want to see, you know, if you took some of the lessons and some of the textures and all that kinda stuff to heart rate. Okay, so that's the homework. Finish up your sketch like I did here, and let's see what you got.
12. Drawing the Centaur: Guys. And we're back with another unit. This time, we're going to talk about the center. We're going to learn how to draw little bit of horse structure plus the human structure and mash them together and see if it all makes sense. If we put them in the right position. Now listen, if you've done my previous course on how to draw animals, you're going to see that we've got a unit in there for horses. If you've done that unit, Gs, these horses are going to be so much easier for you, right? But if you haven't, I think will explain enough here that you'll still be okay to manage it, right? But when it comes to drawing the human form, this course, I've included something from my anatomy course and that is a simplified skeleton viewpoint of humans. Okay, so before you get into Centaurs here, I want you to go back or go forward whichever order you want and it's stuff right? And ahead to that bonus unit of human anatomy, simplified skeleton. Okay? I think it's going to really be crucial for you here to help you work your way through and to help with some of the speed that we're going to be looking at it here. All right, so take this moment, put it on pause or jump out of it and head to that anatomy unit that's simplified skeleton unit for humans. Okay. And now we're back. I'm hoping that you went and did what I said to do, right. If you ignored me, you did so at your peril. Okay. So in front of us here we've got kind of a, you can see this horrible hodgepodge, this mismatch of characters that I've put together from 3D models, right? I did that kind of give us a little bit at ease to start off with. We'll use some photo references and we'll draw some on our own and stuff, right? But what I want to show you is the structure, right? Okay, first structure we've got that we're going to be really looking at is this oval here. This is basically you can see it's the ribcage, right? You're going to have the backbone come back into the hips. Okay, so we've got the ribcage and we've got the hips. Those are two big landmark so we can look for if we come off to this side here, we've got the ribcage, but we can see the front of it, a bit of the circumference, right? So imagine, like we've done this before. We've got a circle, and then we start to turn that circle more and more and more. Well, in this case we've got this kind of oval and we start to turn it and then the hips behind it. And you'll see a little bit of draw through here, right? Okay, because once again, there'll be that center line coming forward, right? Okay, So we've got that and what do we have next? Well, we can bring this back bone up all the way. We've got our head, right? So we'll simplify the head. We've got our torso from the side here. Okay. Which is that kinda Chevron looking thing. Right. And then it comes down into the abdominal area, right. We we basically how I look at is I'm going to use the shoulder blades of this horse. The scapula here as, you know, as as if it was the hip of this human. Okay, so we can kinda block at all in here. It's going to come down from this shoulder blade area here. Okay. The bottom of this. So you can almost think of where the humans leg would be coming from, the hip type of thing, right? Obviously we're only working with kinda the top half of the human here, right? So we've got, we've got the headline, we've got the kind of chest line, we've got the belly button line and then we've got the crotch level. Okay. If you took my advice and you watch that simplified skeleton, you understand what I'm talking about here right at this crotch level is actually going to be where that shoulder blade insertion of the horse leg starts from comes down to what could be a knee, right down to what could be an ankle, and then down into what could be a hoof. What could be what is right? Medicine with it here. Okay, So listen, speaking of other bonuses here and other videos, what I've done up a unit that focuses entirely on feet, claws, pause, hands, hooves, that type of thing. Okay? So if you haven't, when I'm ordering this course, is that hopefully you've, you've watched that simplified anatomy, simplified structure of humans first and you've watched that hubs video first. So this is kinda just a reminder, okay? If you've skipped ahead, you're going to find yourself in a little bit of trouble at this point, okay. Because I'm not going to spend tons of time on hubs here. Yeah. Hopefully, you did it in the order that I suggested it and then it's going to be working better for you. Okay. So we've got the back leg here. Once again, we can kinda start it almost from the same line here, coming down to this knee, coming down to what could be a heel. Her ankle heel kinda thing and then down into the hoof. Okay. So you're going to see with the horse's leg here you've got 1, 2, and then really it comes three. We don't get a lot of flexibility out of this joint. There's a little bit but there's not tons. Okay. And then into the huff. Okay, So again, do that again, 1, 2, 3 angle and then down into the Hough, 1, 2, 3 ankle and then below into the half. Okay. This one we'll do the same one, little bit longer in the front there to sorry, 1, 2, 3. But that's the hoof. Let's see if we can move that and do it here, right. So here's where the hip would be on the human. Okay. But instead, we're using this as the entire mass of the shoulder blade here and it's going to come down. It's going to start somewhere around here. Okay? It's going to come down to this point. Will hit one, will hit two, and then we'll hit the hoof on the back legs. Okay. 12 and then the hoof on the front leg here rather. And then that same we're kinda come in back here. It's going to come from this point and this point. 1, 2, 3, ankle Huff, one, 23 ankle, hoof again. And we can have the center line going up the front if we want. You know, here's the center line of the of the horses torso, right? And then it goes up this center line of the human body. And here we can see a better example of that Chevron. Okay, we've got the shoulders in here, right? Okay. Okay. And so we know that we've got the headline, the chest, abdominal, crotch. And this is where we start to add in the limbs for the horse, right? And of course you can kinda measure it out on this one. Head, chest, roughly belly button, right? Roughly crotch. And then we start to bring the limbs of the horse down from that point. Okay. When we're looking at these back legs from the front, even though it goes 1, 2, 3, and down right from the front, they look, they can appear relatively straight, but we can still add a bit of that depth or the joints into them and stuff, right? Yep. Okay. So how are we going to draw this? Let's take it below here. We'll take this one in the middle here because I like the flow of it a little bit. We'll kinda have the ribcage, the hip. I'm going to come up here. Okay. We'll use the middle line along here. Use this for the front legs and the rear. Now, what's the measurement? If we've got foreheads do here, maybe 5, 6, 7 and a bit, we can put it to 78. Okay? So if we want to have it here, we're going to count up maybe 1234. We can have our head at this height here. Okay. Something along those lines, right? Torso in here somewhere? Yep. Front of the torso maybe comes something along these lines, right? Okay. And then we could take this same height from here to here. And I'm measuring it kinda down and this is where the front feet are gonna go. So I could put in the hoof here and here if I really want to bring it on down, right. And then because this is going back in the distance, I could draw on the rear hubs somewhere back here, right? Along the same line. Actually, I'll put it here and have the leg and the same formation coming back down. Something along those lines, right. Okay. So that's how you're going to try to structure your, you know, your center. You're going to use the basic shape of the horse plus demand, man slash woman, right? It depends on how big you want the proportions to be. You know, like I said, I would go with the eight heads tall. Kinda basic structure for height, but for, for width or for length rather, let's say if we want to measure this, if I was to make this head into a bit of a square, right? Okay, So this would be 1, 2. 345, maybe I could go with six or something like that. So eight heads tall, six heads long, right? That's one way you could do it. Depends on your drawing a little pony or you're drawing a Clydesdale, right? Like it's the effect that you want. It's the proportion that you want. So you can bump this down to seven and this up to seven if you want or something, right? It's really kind of your design because to be frank, I haven't seen a lot of real life centaurs running around and so it's kinda hard for us to say, oh, this is absolutely correct and this is absolutely incorrect, right? That's not really how it works. Okay. So what I did was I kind of smash two photos together here, as you can tell. And I left his butt cheeks in here for a reason because I wanted to show the form of what we're studying here for the horses button. I just like saying that. Okay. So we've got the hip here at the back, right? And we're going to have the basically we get to see the nice circumference of it with the butt crack, right? We've got the ribcage here. Underneath here, right? It's this oval. Okay. And so we can see once again, let, let's say right about here, might be the joint where we start to see the the limbs start to come out of. Right. Okay. And we can do it. We'll do two at a time here. I actually like to work on two examples at the same time. So we can go in and kinda, you know, skull boat, the the basic skeleton on this guy, we can see what I like to do is look for central lines, right? So on the central line for, for better or worse, we've got the horses crack, right? So we're doing this central line. It comes up, comes along the back here, comes up his backbone, and then to the head. Okay, so it's nice to find this center line wherever it is. Usually with a horse, it's pretty simple, right? With a horse, we're kind of going like this along the back. Alright. But now that we've added this human torso, when we get to add that extra scoop up top right. Okay. Then we can add in the shoulders breakdown and add in different points of the skeleton, right? Once again, we've got the legs here. It's going to come down to this section. And like as you know, I'm kinda, I enjoy doing both at the same time here. So I'm kinda gonna do the torso section here, the center line. And notice how this center line kind of nicely flows up to her right. The hip, the where we're going to have all the limbs coming out of. Right. It's going to come from here down to here, down to the ankle and to the hoof from here down to here, down to the ankle and then down to the hoof. Okay. We can have this section coming down to here, out to the knee kind of thing, right down to the ankle and then to the hoof. This section coming to here, down to the knee, to the ankle and then to the hoof. Let's see if we can do that again. Down to the knee, kind of ankle and hoof. And it's going to be on this side, down to here, down to the knee, and then down to the hoof. Right. So we've got 1, 2, 3, and 4. We've got 1234, 1234. And I want you to practice out with limbs. Okay, It's gonna take a while, 1, 2, 3, and hoof. That's easier way to think of it, right? 1, 2, 3 and hoof. So keep, keep rolling with that. 1, 2, 3 and hoof. If you keep practicing with it, it will eventually come to you. And occasionally you'll forget it because, you know, you've got a straight leg, right? And then you've got the Huff. So you can kinda say okay, 1, 2, 3, and hoof, right? That's okay. You know, like especially these front legs, they can give this distortion that it's just, you know, it's just straight. It's the same as with a human leg. We can kinda have this straight looking thing, right? 123 and then the hoof, right? Okay, so we can see it more though when we're running. Let's do this big oval. And then the smaller one for the, but we're going to have this middle line through here. Here's the head, right chest, abdomen. And then down into this middle line here. We're going to go one, this is where the joints are going to come off of 123 and then the hoof. And on the other side of it, It's doing the same thing. It's coming down 1, 2, 3, and then the hoof, right? This one's going to come here, 1, 2, 3, and then the hoof. And on the other side of it, it's going to come 123. And then the hoof. You really have to practice watching horses as as they run the strides and stuff, right? And like I said. If you took the animal unit, you'll see there's a lot more involved in horses and everything. But I think we're doing enough here. It's for you to kinda get it. Okay, So we're going to have, imagine if it was kinda like this a little bit. All right. So we're going to try to repeat this. We're going to have this 1, 2, 3, and then a huff. And we're going to go 1, 2, 3, and then a hoof, right? And so usually when a horse is running, you're going to find, you know, the legs are coming in towards each other or they're kicking back. This leg is coming forward. These legs are stepping forward. These legs are coming back, right? So in this case, you know, I could actually, I'm going to show that. Like I said, I did it in the horse video, but I'll show it here first. You can have, for example, put the feet kind of like this. And of course you're going to put the breaks in them like the different joints and everything like that, right? And this is one part of the stride. Okay. So this is when it's, the back is arc slightly when it's going in this direction and reaching out. You're going to have the hubs coming forward and these ones back. Okay, So it kinda the, the scissor in and then they sit around and stuff, right. Okay. So looking at the torso here, this one, she's kinda twisting and we can have this. It's your choice, how much flexibility you want to give the like, how much disconnect you want to give the human torso on top and stuff, right? Your choice on that. Just realize, you know, you don't want to. As soon as you start to rotate too much and bend the torso away, it starts to feel really disconnected from this. So what I would do is just have this nice flowing center line and realize that maybe here you could have that full turn, but maybe here it's turning this way, here it's turning this way. And then we're back kind of to center along this way, right? So don't overturn right away or anything by the time it gets to the shoulder. And of course the head can turn any any which way it wants, right. Okay. But yeah, we know that from our hips from our hips to our shoulder, we can have this amount of turn. I think it's reasonable to do that same type of thing. So if you you've got a torso twisting a little bit by the time it gets up here, you know, maybe it's starting at this point and it's ending at this point that the shoulders are turned all the way out there and stuff, right? If that makes sense to you. Okay. So lots of rough things going on. The main thing I would suggest is watch the center lines in this one, it would be the back coming out to the tail, right? Or we can trace the front here and find the center line here and then go off for the joints and the details and everything like that. Alright? So when you're drawing it, you know, think of what you're doing with the horse as the horse, you know, is is everything standing still? Okay? If it's standing still, then we know that we could divide it in half roughly, right? That the feet are going to be down here. That we're going to have the main body of the torso, the hip, right? We said if it's an half, it's right about here. We know that this section that the body of the the chevron for the chest would be somewhere around here. You can draw the shoulders in. You can have the joints and you can see how they're starting to line up a little bit unless I start twisting the torso, you can draw some of the joints, right? Cool. You can have 123 and then hoof 1, 2, 3, and then hoof, this one, uh, one, actually, usually these front legs go a little bit straighter unless we want to do some reason with it. 123 and then hoof 1, 2, 3, and then hoof, something like that, right? And then who knows what this guy is doing with his arms, right? You can have it. What do we want to do with this guy's arms? Maybe put them down about here. And he's got a sword in his hand. Something simple, right? Connect, Connect, go halfway. There we go. Cool. Okay. And then you watch the back. That back would come along this way, come over. And the horse's tail could be something along those lines, then you start to really be fed out. Put the detail into it, right? Using the references that we've got so far, we know that there's a lot of detail or a lot of meat in the upper part. Coming down, that type of thing. Alright, cool. So very basic centaur. But to review. Torso of a human, male or female, your choice, right? Main body of a horse, obviously minus the head, right? Key point would be start with a standard eight heads high. Mid point, which would be crotch level on the human, would be shoulder blade level, joint level on both the front and back joints of the horse. Okay. So we're going to have roughly foreheads below four heads high. Okay. You can change that and you can manipulate it for whatever centaur you want. The proportions that you want, if you want to make it look a little bit ridiculous, that's cool too, because these are fantasy creatures, right? And the other main thing that I want to get at is that you want to be practicing looking at real references now, probably by now you're pretty decent at drawing humans and stuff, right? But not the not amazing drawing horses. This was a bit of an intro lesson into how to draw the horse. But there's a lot more in my animals unit that will help you with very specific issues dealing with horses and stuff, right? And of course, you know, there I put the heads on them and everything, right? But this really should be a good start for you. Get a lot of references. You were hopefully following along with me on this unit. But I'm going to give you the blank sheet so that, you know, it's not all my scribbles over top of it and everything that you're able to draw on your own. Draw out the legs to practice it many times to see how these 123 and then the hoof, how these move different, how these different horse legs function and stuff, right? And then start looking at horses on your own. See how they run, see how they stand. I've given you kind of things from the side, from the front, three-quarter views and stuff I got and a bit of running here. But of course it's a very dynamic animal, right? So you want to make sure that you are really researched into it before you do some big masterpiece or anything, right? Last point I want to talk about is this rotational twist on separating the human torso from the horse body. Don't go too far. Okay, think about, you know, if, if the hip is here, we're only going to look at your own body, how much you could turn from your own hip. That's how that's the limitation you want to put on the Center for how much the shoulders can turn away from this main section attachment here into the horse body and stuff, right? Okay. I hope this was helpful for you and I hope that you dig Centaurs. You know. We don't really have a lot of references out here for actual centers. So lookup at how other people have done it and see if that kinda matches what we're doing here in this course, right? See if you look at and say, Yeah, okay, I see it now I see the connection. And then you'll have more confidence drawing it right? Good luck guys, and keep practicing.
13. Drawing Zombies: Guys, I'm back with another unit here. This one might seem easy because we're approaching a normal human, but it's a human with a twist. We're doing zombies. So let's see what makes a zombie different than you and me. And maybe just me. You can be as AMI here. Hey guys, we're back and I've got a new unit for you here. This one's about zombie. That's right. Figured it was about time we drew some of these Walking Dead types, right? Before we get into drawing the walking dead though, we got to draw the walking living. And so I kinda roughly sketched out a few semi normal looking humans, right? When we look at their gait, meaning they're walk, we're going to notice something. We're going to start by these kinda like pivot points. Here's one shoulder, Here's the other shoulder. Here's a hip. Here's the other hip. And you'll notice that like for this lady, lines pretty straight up and down her walk, right? Almost modal ask. But this shoulders a little bit forward compared to this one, I'm kinda overemphasizing it. This hips a little bit forward compared to this one. You can see late comes in front, right. Okay. So she's kinda up and down. This dude is kinda like a little bit, little bit more bendy and you know, we've got the hips and the dude doesn't have quite the hips, right? But this, this one's forward, and this one's forward, this one's back, and this one's back. So what you could tell us when somebody is walking, usually there's a bit of an angle to the hips and the shoulders. One is forward, ones back, ones forward ones back. Alright. And that's the normal human walk, right? Okay, so we've got that right. This is normal humans. There might be, unless their model, there might be some little wiggle to it or something, right? When we're looking at zombies, they are human, right? Structurally, they're quite similar, but we try to differentiate them to show how they're different. And one thing that I like to do is instead of this straight up or down or this slight S, I like to give a bit of a jump to it. Some brokenness, right? And so there's still going to have shoulders and hips, same as humans love to hear. So I can 11 forward, one back on, no one forward one back. But obviously this massive almost like I think of it a K type of thing, right? This massive bend shifts things. So we'll put a foot down here and this one might come all the way out here. That type of thing. The arms bent up and kind of weirdly, right? And then the head is often tilted off to the side. You can see how, whether if we're even going to add in like a rib cages and hips. This isn't so much how to draw a human, but more how to transition into the key points of a zombie. We would have this And, and the hips here, right? You can see how this looks weird and awkward, right? So let's, let's do this a few times. They keep being consistent in this kind of cave formation rate. And we'll just kinda maybe do the opposite on this side. Let's practice together and say, okay, well, here's forward, Here's back. Here's forward. Back. Head can tilt this way and won't head can tilt this way. All right. Arms can be like this. They can be straight down. This one can be kinda n ribcage is probably down here, hips down here. This one can be like this. We're looking for instability, yet still standing upright. And you can have fun doing this many, many times. So what I would recommend is grab a sheet. Canada, jordan, these K type of angles, right? And draw in these weird-looking Michael Jackson dancers, right? That's what I want you to approach this with, is, instead of this nice flow, we're looking for this genus, okay? That's the key point right now this is the first step to understanding a zombie, is their date. They're walking, their silhouette, right? If you wanted to, you can even block this in a little bit, right? It would be like this. It would be like this, you know. And you can tell that already. This is weirdly creepy, right? Right. There's our blocked in Zombie. So whether you're going to use a stick figure that I prefer, or whether you're going to use a silhouette blocking. Either way kinda works, right? Okay. So moving on to the face, you can see on this side, I've got this reasonably, reasonably pretty girl, right? Our eye faded it out so we can use the structure of a normal human face and say, Okay, well, what would make his army? What makes a zombie zombie, right? Well, zombies have ice, so why don't we start with the eyes. The eyes are are there. Sometimes they seem really tired. So you can put these bags under the eyes, right? And you get the actual eyeball. It's like the pupil and everything doesn't seem very detailed. We don't we don't give it's kinda fogged out smoke dope for the iris. Sometimes you're going to have shading underneath the eye. And basically they're there, The Walking Dead. They don't sleep much income. Or what you're gonna do is take the whole socket, the whole orbital socket there, and really start to darken it out and stuff. I got like the brow considered heavier on it. Right. It's it's just, it's sunken in, right? It is. You want to think of a zombie like gum. Like it's starving. So like everything's can being sucked in, right? Same. You don't normally our nose would be something like this, right? But the zombies know it was, has been sucked in, sucked in so much that maybe all that's left as these nostrils, right? The nostrils are there. And then maybe a ridge and it comes into a little bit of the nose. It's almost like a bat noses, what's left? Right. It's been sucked in and looks pretty nasty. Income. The mouth. We've got some choices. What you could do is like, you can have a normal mouth. Here's the lips, right? But then you can have it like falling off or you can have the flesh kinda hanging off. And if you want, have like a giant chunk ripped out here. So what would be in this giant chunk of flesh that's ripped out? Well, let's kinda run the teeth amongst where they would they would be, right? I'm just roughing in where the teeth might be right. Now what we do is we have the gums. We have. Here is this 100 teeth? Here's where the canine would be. And you can kind of rough and the teacher can break them up if you want. You can have where, you know that the gun would sit underneath here, right? You can have missing teeth or broken teeth. Sitting in here. You can have the tendons that are running across the mouth, pulling in. You can have the flesh from whatever this is hanging down, right? So maybe on this side, this looks relatively normal. Then you've got all this this floppy flesh that's been ripped off of the face here, whatever that's decaying and falling and dripping down. Right? Okay. Speaking of decane flesh, you didn't put that kinda anywhere. You can have a patch of flesh that's been exposed, some of the skin or underneath you can have, here's a bit of an eye brown and pieces hanging. And it's not what it used to be, right? She's not the pretty girl she used to be. You'd have just sections of skin that are falling away the year maybe has a pieces out of it, right? It's been bitten or it's it's hanging or something like that, right? And that's what you could do is like, you know, you can draw a normal neck and then just have like a ribbon, like the fleshes falling off and you can see some of those tendons and blood and even like texturing and the liver spots and everything. Or you can have it come down and you can have oh, I like that. Actually you can reload it out and make it swollen. Right? Like there could be bumps that are not natural. There are something where you can have chunks that are missing. And maybe this was the original bite. And it's rotten all all around it. Here's the original bite that, so you can see if that's pulled away, that's the original bite of what? This person walking dead as a lost their zombie battle, right? Okay. You can even like blanket the eyes if you want if you want to bloodshot, right? Depends how you want to do it. On the hair. This girl Can it has a messy bun. But so you want to keep like maybe an original hairstyle of what it was. But just now it's, it's been weeks of walking the streets, hunting for brains, right? So there's, there's hair kinda sticking out. It's sticking in different places. It's been, she'd been bumping into other zombies as she walks a street. And so it's no longer, you know, there's these loose hairs coming up where there might be a chunk of flesh out of here with some some hair sticking out and everything, right. And then We've got that going on, right? Okay, So once we see that we can redo this face and restyle it with flesh missing. Well, that's what we can come up and do with our figures, right? You know, like we can tear away flesh off of the bone or off, you know, tear away flesh off the arm. You can actually take off. Here's a bone sticking here with meat hanging off of it or something like that. Take off pieces of the arm and, you know, it's just a stump. Right. So now of them pulling that away or whatever it is, you know, I'd I'd I'd just be having a little stumpy there. Another thing is with clothing. The clothing has been ripped. So you can have rips and the clothing and stuff, right? Like it's now in rags and just kinda hanging on the person, right? They don't, they're not as stylish as they once were. So you can rip up the clothing and stuff, right? You can do anything like you're going to have that skin pattern where the skins fallen away. You can have Blache marks on the skin, bite marks, you know? So what we've learned is from the beginning, you want to start with the structure, the gate, the silhouette, the appearance of it from a distance. Once you've got this basic structure down and you're drawing your normal zombie, then as you're drawing a, actually more, more accurately a normal human, then you start chipping away, you start aging, it's decaying at all those kind of things. Putting these spots all over it, you know, putting nasty pustules, whatever it is and stuff, rotting, rotting flesh, all that kinda stuff. And you can take it either like a face here or you start to apply it to the clothing, to the entire figure and draw those details in. So this is your homework now for this unit is to draw out a whole bunch of these fun little figures and see if you can Zomba phi them, right? Make these suckers into the Walking Dead. Do Kirkman's and justice here. Or Romero or whoever you're, you're zombie iconic, right? Guys. That's it for this quick little additional unit. I hope you guys have fun with it. And I'd love to see somebody zombies sent my way.
14. Drawing the T rex: Hey guys, I'm back. And this time I've added a dinosaur. That's right. And to start off the dinosaurs, who's the coolest king of them, all? The T-Rex getting, getting there with a big head, tiny hands, and let's see what we can do. The T-Rex, the big daddy of them all happening. Yeah. I know. I know he wasn't the biggest, but I don't know. The legend of him kinda carries strong, right? Okay, so what do we do? Well, this is how I like to break down any creature, any figure, anything is kinda just break it down to some basic forms and then see if we could build it back up again. Now, lucky for us. We're unlucky. We actually don't know exactly what a T-rex looks like, right? But we have a lot of understanding of the skeleton. Right? So that's what we're going to look at here. We're going to look at the skeleton of this T-Rex. I've kinda drawn this guy up here and then see if we could try to understand it and then build it back up. So one of the easiest points here, we can start with the hips. We're just going to draw a circle. Sphere actually, right? We're gonna do the same thing kinda up in the ribcage here. And then the head heads a little funny. I kinda like to have it as just a kind of a rectangle here. From the side here it looks cubic, I know, but it's going to be a rectangle. Okay? So now that we've got this, we're gonna go with the neck that comes down over top, over top, the hips and then out into the tail. The tail is got a lot of mass on these guys, right? Okay. So with both the hips and the ribcage, we're going to have some joints going through. We're going to have where the top leg inserts in the hip joint and then we're going to have where the shoulder inserts. Okay, and if we're looking at this now, I'm drawing through. So imagine if I turn it in at my sphere kind of turns. This might be where it inserts on this side. And then if I'm drawing it through, it'll insert on the other side. Right now we're looking straight at this T-Rex from the sides. So we're not really drawing through tons, you know, we're not rotating it at all. Right. Okay. So what we're gonna do from here is come from this hip insertion down to what would be a knee, then down to what would be kind of an ankle slash heel. Now, hopefully by now you're getting familiar that the dog lake right here's the top, comes down to here and then it comes down to what is kinda fake ankle or we could think of it like an ankle. The foot comes down and then the toes are down here, right? So this, we can think of this in relationship to humans as the foot. And then we can have the toes splaying out from there. Okay. So see if that makes sense. Here's the base of the foot. Here would be the heel and sometimes you can see a heel spur back here, right? And it comes down into this main body of the foot and the toes kind of splay off from there, right? Depending on how many toes. And sometimes you might have one in the back here. This one's got this one off to the side. Gate shoulder comes down to what would be an elbow and then comes out to a wrist and he's only got the two little fingers, digits. Let's go with digits, clause digits, that type of thing. All right? Okay, so we've got this side. One. We can see, we can use the tail is a bit of a tubular triangle type of thing. Let's go over to the front. And we'll start with the first one in the front here. From the side, it just looked like a rectangle, the head. And, you know, if we're going to do it from here too, we can kinda do the same thing. What you could do is kinda draw. Here's the muzzle And it's kinda going back into that shape, right? So we can come up front and we can draw the front muscle. We can go back. Actually it's a little bit wider shape in the back here, just the way the John jaw hangs. We can add it in here and then kind of draw the lines going along back this way, if that makes sense, right? So you can even get wider, something like that, right? Okay. We've got the ribcage behind and then we've got the hips behind that. Okay, so here's where I'm drawing through, right? So you can see that the shapes are starting to overlap each other a bit, right? The leg comes from the top of the hip here, comes down to the knee. This one comes down to the knee, comes back to the ankle joint, that heel spur, back to the ankle joint and the heel spur. And then like I said, this is kind of like imagine this is the first body of the foot and then it splits out for the toes, plays out for the toes and that one hook at one digit in the back. Don't worry, we're gonna do this a few times. Okay. We've got the shoulders on either side here. You can see me drawing three old draw a little bit heavier. It comes down to the elbow, comes down to the elbow, out to the wrist, and digits out to the wrist and then the digits. Okay, So let's go below and see if we can kind of repeat some of what we're looking at here. We're going to draw the hip. And I really hope you're following along with me, right? I'm going to draw the hip. We're going to draw the rib-cage and we can draw the head up here, right? Something like that. We can draw from the base of the head, down the spine and out towards the tail. Will draw these main joints, the shoulder and the hip, coming down to the knee, coming down to the ankle and heel spur down to where the the digits start. The shoulder comes down to the elbow and out towards where these two digits spawn off of there. And that's pretty much it. That's it from the site. That's, you know, look at this thing. That's how simple it looks, right? Hmm? To an extent, obviously we're going to add more details in. But what I really want for the next little bit is to try to get the skeleton down. Because once you've got this base down, you're going to be amazed by how much you can do with it. Alright? Okay, so we've got this head, it's actually kinda tilting a little bit, right? So we can draw the front of it if we want. Here's the front muscle. It's going to go back, actually, back here. This one's going to splay out and something along these lines, right? Okay, so that's the front muscle. Then we're going to draw the rib-cage behind that and the hips behind that. Maybe I drew those hips a little bit big, but whatever doesn't really matter that much, we can draw the insertion on the hips and kinda come down for the leg, come back for that heel spur ankle. And then this part comes down into the first section of the foot and then splaying out, splaying out and that back, that back digitalWrite will come in here and we'll add the shoulders. It can come down to an elbow, out to a wrist, and then two digits. This one can come out to an elbow in order to, uh, wrist and two digits. So this is where you start to realize that you can do a, a lot of things like, you know, it's a joint, right? So you can move it this way or move it this way. You can start to move it around depending on the nature of the joint. Now one thing I forgot to do a pop here was this tail that kinda comes back, right? So we'll do, imagine it's coming from behind here, comes from behind, over top of here, and then a tail comes back out, like cups in, right? Okay, so we've got a few pretty good examples here, right? And now that we have these examples, why don't we try to sketch in a few different Just skeletons, right? Like I just wanna kinda rough some things and see what we can do here, okay? So you can start you can, it's your choice whether you want to start with the hip, whether you want to start with the head, It's really where you want to try. Okay, so I'm going to start this next one with the hip and kinda have it this way. But I'm, I think I'm going to like here will be my center line, right? So then I'll put the rib cage above, and this will be my center line. You can see I'm just doing spheres, right? So the two legs would be on this side. The two shoulders would be something like this, right? And maybe I'll have the head, something like this. I don't want it like I kinda want this job to be kinda wide. See if it even works that away. There, there we go. Okay. So I'm gonna come down to a knee. Come down to a knee, come back to that ankle. Heel spur, come back to that ankle. Sorry, the ankle heel spur come down into the foot and then splay the the toes right. So I'm going to come down to the foot and then splay the toes. And then we've got that one inward little digit coming with him. The upper arms are pretty lean. Want a T-Rex? They're just going to come down here. And then kinda hang, come down here, and then kinda hang. And then I can add the two digits there. Something like that. And this tail uses itself as a counterweight a little bit, so it'll be something along those lines. Okay. Not bad. And I made them too big though. I won some room to do some other stuff here. There we go. And just in case you were kinda like, hey, that looks like a chicken. Other than the big boxy head? Yeah. Kinda does, right. Okay. So speaking of heads, last time I started with the hip, why don't I kinda like do something here. I'm going to do do the headfirst and see how this works. But you know what, not I think about it. I wanna kinda open this up. So I'm going to use this as my center point for the jaw. And instead kinda come down here and come up here and have this as the ritual opening, right? See if that works. And of course there's going to be more details coming in and stuff like that, right? But I just kinda wanted to open it up a little bit more. There we go. Maybe this would be even higher coming down. Okay, so now I've got an open head. Then I'm going to add in the ribcage, the hips, and see I'm already running out of room. This is, this is why usually you want to plot things out a little bit, right? Because you're limited in space. So sometimes it's nice on the computer I get to goof around and rough it and then adjust it and all that kinda stuff. But if you're working on paper can be a little bit tougher. So coming down here to the leg, back to that ankle, heel spur, forward foot and then splay splay splay inward. Right? This is way on the other side. Maybe I'll bring it out here and then bring it back. Bring it down to the foot and splay, splay, splay and an inward. They're right. And I guess I could zoom in for you guys. I don't know why I'm kind of drawn from such a distance. This one's going through. So this will come down and then it can collect this this one. Why don't I bring it something like this and have it more like that, right? So it's a little bit more dynamic than what we've been doing. Back of the head comes down to the spine, comes down, and then that big balance tail, right? What do you guys think? Starting to look like? Yeah. Okay. Still looking like chickens, right? I know I know they look like chickens, but I think there's actually a good reason for that. There's a lot of relationship between dinosaurs and birds and everything, right? You know what? I still think I'm going to start with the head. So I'm going to come, come here and kinda doing this one a little bit bigger. So you can see a little bit more. Kinda going to have this guy looking straight on. Behind it will be his ribcage. Back here will be the hips, and then the tail kinda go off. Let's say it's right about here because I'm thinking the center circumference line would be something like that. Right. And maybe similar positioning here. So this shoulder would be here and the other one would be on the other side. We could drop it down to here. Have those drop it down, have it come out. And there's those clause, right? This one can come here. Maybe come back to that ankle, heel spur, come down to the foot and then splaying with the inward one and coming here. Same kind of bringing it back that Hillsborough down into the foot and then the splay, splay, splay inward one. Right. And this will come up for the tail. Maybe little sticker. Not bad. Okay, When we look at this now we can see that there's a lot of, lot of things going on with the skeleton. But if we keep practicing like this, what I hope is that you can kind of move things around. And then, and then what you do is you start to come in and add some details. Okay? So what do we have in the front? We have this kind of, and I'm just going to sketch this roughly right now, right? We have this muscle with the nose here. And we can keep you can keep panning up and kinda looking back down and stuff like that. All right. Hopefully you've got the whole sheet in front of you that you're able to do this, right? We've got this. We can think of it as a central line ridge a little bit. That kinda comes like this. There's, We're going to come here and do the Irish follow this line. Right? There we go. We can see how it's kinda getting constructed here. And this is going to come in and do the mouth. So we were looking at it. There's a little bit more on this side of it, right? So we can have the mouth here. Cool. And this is all coming here. From this side, we might not see much of the eye. We might just see a little bit like that right down here. We can have it quite open. And like I said, I'm just kinda roughing it so I can put the bottom chin in here. The thing with the T-Rex is its mouth kinda comes up and then fans out and then comes back in this way, fans out and goes back in this way. And this is where you get all those tendons on the side here that ligaments holding them all together, right? The actual tongue is still Center in here. And the teeth still run a roll like this. So you can come in here and you can kinda start doing in the teeth. I'm trying to draw this kind of fast because I know that this is real-time for you guys. And so I don't want to have these videos two hours long as I render everything out, right? So this pocket that's all in here, this is a lot of gummy tissue that's happening in the mouth, right? Okay. So this one bend is going to come the jaw is going to come around. Same with this side. It'll come around, come up. And you can think of like somewhere around here is the cheekbones. And then it comes up into the skull. There we go. Okay. And you know what, I would I would come in and adjust it just to make sure that things are kind of equal in how they're looking. But not bad. You're starting to get the gist of what it looks like, right? Just as a real rough sketch right now. There we go. Okay. So now it's going to come down into the neck and then we've got this massive shoulder that's happening here. I actually don't like these eyes. Think what I would do is zoom in just a little bit and maybe make them just a little bit more like this. There we go. Okay. So now that I've got the base form of the head, I can go on and take a look at the next thing I usually do when I'm working on my sketch like this, I like to work on what's closest to me and then work my way back. You know, when I'm doing the rough blue and everything, it doesn't really matter because everything is going to be overlapping and you're drawing through things, right? But here, you know, here this arm is going to be ahead of this arm. This arm is actually stuck behind the torso here. So let's see if I drop this chin down. So this arm is going to be almost like a human arm. You know, here's the forum, Here's to the elbow. It gets really small and thin. And then it comes down into these digits. Comes down this way. And I kinda leave room for it. He's got like ridiculously small hands and stuff for him. So same thing here. Here's the elbow, here's the form. It comes over, comes this way into what would be the hand starts to come into these digits. And again, I'm, I'm kinda just sketching here, just roughing word be. There we go. Cool. Okay, So we rough that in. This is going to come down into this midi part of his hips and his back. This part is going to come down and swing underneath. But before we get into too many details here, I want to do this late because this leg is ahead of everything, right. So you can think of this leg is like, again, a dog's leg or a chicken leg or something like that. So there's a lot of meat going to happen right up here. It's going to come into this knee. It's going to come back into what would be a calf type of thing and then a heel. So you can kind of think of this almost like he's standing on its tiptoes or something like that because the heels here and then it kinda comes down very thin into that first section of the foot. And then what did I say happens? It's split off from here, right? So you can kinda, you know, I can think of it this way is and there's all these toes coming off, off of here and they come back up into this section. Okay, so there's these three toes and you can have claws, nails attached to them all. And then like I said on the inside, there's this one, something like that. And you know, eventually what you're going to do is get into rendering the texture of, of the reptilian skin. Some people say they were feathered, right? So up to you how you want to do it. But right now, I'm really focused on just getting you down with the form. Right. So we've got the belly coming underneath and you can see how we're kind of following. If, if it's a male, maybe it's got this sheath. And then it comes up into this tail. And the tail goes off, off screen there. So we drew through here for the other leg, it's going to come down into a knee. It's going to come back into his calf, back here, into the heel spur, comes back down. And instead, now we've got the this one inside digit coming inside here, right? So it's going to come down here. And then it rests. And we've got these three other ones coming in this way. And do they look like chicken feet? Yeah. Yeah, they do. But I think that now you're getting that this is looking like a T-Rex, right? That all of our little construction in slightly looking like a chicken. Those types of things. Yeah. But it makes sense that the key characteristics I think, are really big head, really big teeth actually, I can even make those figure. Right. Monstrously big teeth, scary teeth. Big head, big jaw, big teeth, small little bitty upper arms, big chicken guys, like big huge dies. And then the taper down into these little feet. And that my friends is the T-Rex. So I hope that this helped you in not just listen, we've seen T-Rex as before. And I could draw like these things above here that you just copy it, right? That's not what we're trying to do here. What I'm really trying to do is teach you some of the building blocks behind drawing a creature like this. And then have it so that you can turn the hips, turn the torso, kick one leg back, do anything you want with it, and still be able to fundamentally recognize that you're drawing a T-Rex. Okay guys, there's some good examples here, but I really hope that you work on your own. That you take the time to draw a T-Rex and the poses that I have here, but also some that you kinda play with yourself, right? Just that you can come up with imagination. You can start with just place in the head and then seeing how it would all play out from there. You can also think of like, well, what's a T-Rex doing? Is it running? If it's running, you know, one leg would be back when leg would be forward. Right. Is it grabbing something off the ground? What would that be? The head would be down low. The tail would be up to balance it, right? So guys, this is a great start to being able to draw a great preacher like this. So make sure your roll with it. And then what you can do is send me some of your sketches and stuff. And yeah, we can talk about them, go over them together. And I'd love to see him. Thanks guys. Keep practicing.
15. Drawing the Stegosaurus: And you guys, I made and I'm back with another unit for you. This time. We're talking about the Stegosaurus. How to draw it, how to draw the structure, how to draw a little bit of movement in there, how it would work. And then of course, all the different details that go on the dinosaur, right? Let's have fun. I always felt bad for these duties. It seem like they're always T-Rex in animations or movies or books, some old-school illustrations and stuff. And they were always getting torn apart by the T-Rex. So yeah, let's see if we can add some stuff to this guy and make sure that the T-Rex stays away a little bit. Okay, so what do we got here? We've got a stegosaurus and I was sketching out earlier, right? I think he looks like he make sense. The one thing that I haven't really gone into a lot of when I talk about this, like, you know, I go into structure a lot, but I want to talk a little bit about texturing. You know, I don't know if you have ever taken my how to draw animals course, but I go over this a lot when it comes to the rhinoceros and that kind of thing, the texture in the skin. So what you'll find is you get a lot of these folds in the skin, right? Get a lot of these fold lines going on, right? And then there's also this cross pattern. Often that happens. It can either be like straight up and down checkered type of thing. We're going to be a little bit crossed rated. So, you know, like what you can do is start to add some of these textures. And if you want, it could be just simple lines like this. And then these cross lines going across it and stuff. And that starts to add some of that more reptilian skin. And you know, I know there's a debate whether rhinos have reptilians skin or not, hurt minus g. So dinos have reptilian skin to them or whether they had feathers or not. I grew up with kind of more reptilian dinos and stuff. So I'm going to keep, keep with that. Look, right. The one thing that I would advise though, is when you get a crease like this, that's when you could do a lot of the texturing of a foal, that could be the back of the knee or something like that. You're going to have a lot of that patterning going on. So I know I'm kinda jumping ahead a little bit here. Usually we start with the simple structures, but I'm showing a little bit of rendering here just because I think it's important, you know, like I've sketched out this Dino here and there's something missing two it right? What's missing is all of all of this patterns, right? All of that rough skin look. You could even put some scars going on along here or something, right? There's also patterns in the plates of the Stegosaurus right there. It's almost like family like, so you can kinda do something along these lines and that all, hopefully, you know, starting from the top command down, that'll give it a little bit of the look you might be going for. Like I said, I know I'm kinda jumping through here. We're going to get into a structure and a second here. I just wanted to show you guys that when you're rendering the dino, in this case, the Stegosaurus, you know, you can take time to put all this stuff in here or not depending on your choice of rendering. You know, in this course I'm not teaching you how to color or anything like that. I'm not teaching you how to shade necessarily. I'm just teaching you how to draw. That's the emphasis, right? That's what I'm trying to get at. So yes, we're drawing and I'm thinking you've got a pencils and paper sitting in front of you. So that's what I'm going to focus on. But it sure is nice to give a little bit of flourish into things, right? Okay, so now that, that's out of the way, let's get into the basic forms. And I think you can almost see them already. We've got this small little rectangle for the head. Look at the size of that thing compared to what would be the ribcage and what would be the hips. And then down into a tail. Right? Of course we've got the shoulder, we've got the hip joint down into a knee, down into this one doesn't have as much of that false foot that the other ones. This is almost like an elephant type of structure, so it kinda does come down. And then there's this platform here. So but we don't get to see it. We don't get to see that he'll bump like we were in the T-Rex or anything like that. This is almost really simple. You can come down to an ankle and then fan out the foot. So come down to an ankle and then phenol the foot. And I'm making that ankle kinda like this and then foot kinda blocky. Right. So you can go from the base of the neck, down over the spine, and down the tail. Okay, why don't we draw that below and see if we can replicate a little bit. We're going to have a big sphere for the hip, slightly smaller sphere for the ribcage, right? And if you want to at this point, you can even bring the spinal line over and you can have it looking up. Here can be the little rectangle four. Actually, you know what, I think I made that way too far out now that I'm looking at it in proportion to the one above here, I think I would have to back this out. Maybe just something like that. Alright. That looks a little bit that lengthen. The neck was getting too outrageous, right? And then out into the tail here. Now I would find my shoulder joint which is a little bit lower on this guy versus the hip joint. All right. Come down to an elbow and then down to the foot. I can bring this one down to a knee and down to a foot. And you know what? Why don't we kinda draw through a little bit, have this one down to an elbow, down to a foot. And I'm just I know the fear looking ugly, right. Don't worry about it. And back here, down to the knee and then down to the foot. There we go. I got to say I'm happy with how this looks. This looks like a dinosaur walking along and now all of a sudden he's looking up into the sky is you can write. And he's looking for some, you know, something's going to come down, invite Omar septum, right? I don't know. Did anything attack these guys from the sky? Okay. Let's see if we could do it from a bit of a different angle. So with the this rectangle is just a straight 2D from the side, but from the semi front, we can give it some depth to it, right. If I was to draw through it, it would be more something like this. If that makes sense, right. Depending on the angle that we're looking at it. Right. Okay. Then we've got the big old ribcage here, the big old hip going through. And of course we're drawing through a little bit, right? The shoulder is here. That hip joint is up top. Same with on the other side and same with the other side for the shoulder. This comes down to an elbow, down to an ankle, and then the foot down to an elbow, down to an ankle and foot and listen, I'm using the terms ankles, elbows, knees, that kind of stuff. Right? But I think that, you know, that that's not exactly what we would use for terminology or anything, right? It's just, I think I find it simplified if we're trying to think of it in, in things that we can relate to, right? Okay, so from Back to the head here, it's going to come over over the spine and back down into the tail. And there we go. Do we want to try to replicate it? Let's see, I'll back it up just a little bit. And hopefully you're following along on a worksheet, right? Why don't I do this first of all, the shoulders, do the big hip behind, right? Do the rectangle head, semi rectangular room to do the shoulder joints that are down a little further. Do the hip joints that are up, bring this line that goes over and back. I can bring this. This is where I start to goof around a little bit and bring this forward, this one, maybe back, this one maybe even further forward, and this one back. I think I'm maybe move the legs a little bit too much. It's starting to look almost like cat-like or something, but I think it works. So what are we going to do? Let's practice a little bit. See if we can draw the Stegosaurus from a few different angles and see how it works. Okay, so I'm just kinda gonna give us some space here. What if I'm looking down at it just a little bit so I can draw the big hip, the ribcage, shoulder type of thing. Maybe he's looking straight at us type of thing. You're a little bit and write, have the head there. Low points for those shoulders, high, high points for those hips, right? And then I can bring this over and have this tail coming off to the side. This can come down, ankle, foot, down, ankle, foot. This one can come back and down. And this one can come back and down. There we go. So if I was to draw this maybe, and this is really rough, I'm just roughing in the things on top right. So I would be looking at the top of it just a little bit, looking down at that line. All right. Let's see if that makes sense. What's another one we can do? From behind? Maybe a little bit. Alright, Okay, so here's his rump. Here is the ribcage. Here's the head. And we're looking at the back of it maybe a little bit right. Here's that line that comes out back into the tail. This leg can be coming down and you can see how quickly I'm kind of trying to do this now actually I should lift it up just a little bit to this leg. The other side might come down to that side. Shoulders on either side of this sphere. This will come down. It'll come down this way. And there you go. So we could see more of the back here first, right? Spikes back here. Okay, And so the reason I'm trying to do these overlaps, like we're looking at the front this way. And so things would go off behind it or something. I'm trying to shift this around a little bit so you guys get used to taking those basic shapes and just changing the order for which way you would be looking at this guy, right? Okay. Maybe one more this time, I think. No. Why don't I put the head down here. And you can see I'm starting to change the form of the head. I'm starting to give it a little bit pointier, right? You know, and you know what I can do from this point, just go something like that. Maybe this is the form that I want to take. So I'll throw in my ribcage here and I'll throw in the hip here. Right. And I'm thinking, you know, he's he's looking at some maybe drinking water or something. Right. So the hip joints insertion layer, the shoulder will be a little bit low. He'll kinda be coming down like this. Maybe this one comes back and then comes forward a little bit. This one can come forward back in there and maybe about the same or something along those lines. Now. Is it looking ugly? Yeah. I guess, but it's looking how I wanted to and I didn't know I wanted it to look ugly, but it's kinda working right? So what I wanna do is actually come down. Let's see if I can back that out a little bit. There we go. Come down here and maybe do a little bit more details here just so you can see. So I like to do what's in front and the first thing that's in front is this head, right? So he's kinda got this sloped. Look to it a little bit of, I'm going to see the other side to it, right? The Joel comes down, comes up into the neck here. This one comes up over here. There's this big shoulder that's going to come this way and then comes down into his foot. So this this comes over into the elbow, comes down into the foot and my feet were especially rough. You know, I really wasn't trying to do them very well. Right. So this part would be the the underbelly that comes over. So I can kinda draw that through and I can even kind of come the shoulders on either side here, right. Come through the middle little bit, put this over. Okay. And then if I want to, I can come in kind of erased through it or whatever. This back leg is going to be quite, quite large. Generally speaking, you know, he's got a big back leg. It comes down. There's the NAEP heart rate is going to come down. He's not that sin of a lower leg. And it's going to come down something along this line. And I made these ridiculous feet. But actually what they are is like there's three toes and then there's these small little nails, I guess isn't the only way to describe claw. I wouldn't really call them claws are not retractable at all. Let's go with nails so I can have the wrinkles here if I wanted. At this point, I'm just roughly sketching room. This is going to be planted down and then it's going to come up. And the same thing. It's going to have those little nails on that side. All right. We can draw on this other side here is foots here. It's going to come up. And you're going to find because this is the we're looking at the inside of the foot here on the outside. The outside might have the three visible little nails, right? But the inside, that third one might be out there that we might not be able to see, right? Okay. So this will come up here and then this tail will come off, kinda drew it off screen here. And then what you could do is, here's a semi center line, right? You can kind of plot on either side where these big plates would come up, right? And depending on how you want to draw the plates, there's it seems to me the ones that I've looked at, they get bigger or taller as they get to the top here, right? But the shift a fair bit in their form, right? So on this one row on our side of this beast, we're going to be drawing there. They're fairly big. And then they start to taper off as they go on the background. On the other side, you know, you can have something along those lines, right? That there are a little bit shorter because they're further away, right? Something like that. Right. And so right now, I'm just really roughing it in, just trying to show you guys where you would be putting all these little pieces, right? There might be a little bump here, little bump here, something along those lines, right? Okay. So what I would do at this point is I would then start plotting in the eye the nostrils, right start. And then figuring out, you know, am I going to open the mouth and stuff? And figuring out what I'm gonna do with this pose. I'm not gonna do it for this one because I think I spent a lot of time earlier in this unit talking about how to show some texturing. Remember, I, let's see if we review a little bit. We can show especially on a crease line, but we can show these lines and then the cross texturing that we were doing, right? So we can show this and then some, some cross texturing, nice and easy renders with, uh, with just simple lines, right? Okay. So I think I'll leave stagy here for now. I think he does what I wanted him to do. I think he looks like what we're trying to do. A big booty on them, smaller ribcage and this elongated neck, I think I could now looking at it, I think the head could shrink just a little bit and stretch the neck out just a little bit. But, you know, what do we do? We just keep practicing, right? So if you've got a dinosaur, let's say in a story you're trying to do, this is what you should be doing. Have, you know, of course you can look at some, some other illustrations for it and try to hit poses and everything like that, right? But just try to get those basic forms down and then try to turn them around. What would the dinosaur looked like from the front, from the side? Three-quarters view, looking up at it a little bit, right? How would that change the look of your dynamo? Okay, So that's what I wanted actually, you know what? I think I could have. He went even higher on this. Okay. There we go. Sorry. This is where you start in noodling too much. You're like, Oh no, I like this and know I should switch this and eventually you get past of what you are trying to do. And what I was trying to do was show you guys how to construct a stegosaurus. And by now, 20 minutes into this, I think you should be able to write. Key points are, remember that the head is very small, the ribcage is large, but the hips, that hip section is massive. And then you get to throw these awesome massive plates on the backend of it, right? With the spikes on the end. How cool are the spikes, right shoulder spikes in there. And just think of it like almost like a rhino or an elephant when it comes to the feet as well. They're going to be, you can rough them in really simple. But they're going to be so much basically so simple like this, right? They're just going to be these little nails on the end and stuff. And that's pretty much it, right? Okay guys, I hope this simplification helped and I would love it if you send some Stegosaurus is my way.
16. Drawing the Pteranodon: Hey guys, I'm back and I've got another cool dinosaur unit here for you. This time is the Pteranodon. So we've got kind of wings, but their arms, right? There's a lot of interesting details about this beast That will be fun to study and fun to really play with in that wingspan, right? When we jump on it and get to it. Hey guys, I'm back and we're going to draw a flying turkey. No. Okay. It might be a trend. It on might be a flying turkey. Seems the same to me. Why? But these BRD things kind of annoying me there. They are cooled to draw though. Like I gotta say, like there's some really cool stuff that we're going to go over. So I like it, but just weird looking. I have a sense of I lived during their time, they would scare me, annoy me. I don't know. Okay. So what do we normally do? We go to the blue, right? I look for basic structures. And the thing about this guy is, the basic structure is going to be kinda weird depending on how we're looking at it because the wings just jump into things. So, so much, right? So let's see. What do we take a look at this shot first. Okay. What I would do is it's almost human-like. We can have this kinda little ribcage, a little hip or shoulder? And a shoulder. Okay. It's gonna come down to an elbow. This is where it gets kinda wonky because there's some folds in. It. Comes down to an elbow and then comes down to a wrist, comes down to arrest. This one's got a weird fold to it. I wonder why I threw that in there. Sometimes it's artistic license, but I'm not loving that. And then we've got the what looks like three clause, right? It's not. And I'll explain that in a minute. From here, we can go from the hip down to a knee, down to a knee, down to an ankle. Ankle. 1, 2, 3, 4, inside. 234. All right. Okay. Then we can come and get our central line up here. Like I said, we can this, if you've taken my human anatomy course, should be looking really familiar. So we've got elongated neck, the head up here with this EQ sticking out of it type of thing, right? And then a secondary cone. I kinda like this actually this is the one thing I really like about their design is this kind of cone head paper thing, that little thin that comes up there. Okay, listen, this isn't complete, but let's leave it there for now because there's something going on with one of the fingers. So we're gonna come over here, not here. We're going to come up here and look at the same thing. We've got a shoulder to shoulder. And we're kinda looking at a bit of the top of the torso as it comes down and then the hip can be drawn through and it's behind. Everything will come down to the knee, come down to the knee, ankle, Ankle, little feet. And we're gonna come up. We're going to have the head, we're going to have the beak type of thing coming back and then the the head cone the cone head type of thing going off for him. That's not what I wanted to focus on though. What I wanted to show you was elbow, elbow, wrist, wrist, head 123, and then there's a long finger-like that comes off the side. 123. And then there's a long finger that comes off to the side and that's what I was talking about, that really long digit that comes off to the side there. So it actually, this one here is actually a digit that can fold up and is kind of like it can manipulate, move and stuff, right? So really weird. These guys are string trim, okay? Then what's kinda cool is you can think of it like their gliders, right? So they've got these big, huge sales that are kinda coming in from underneath there. It comes way from that digit in here. You can think of it kinda coming from a little bit of the back of the leg. Somewhat. They they attached a little bit to the back leg but there's actually this there's often there's this little tail fin down here. Okay, let's try it again from the side. And don't worry, we're going to sketch all of these, right? What do we want to start on? Foursome? Sure. Imagine this as a ribcage. Tiny little hips. Come down to the knee, down to the ankle. Foot. Down to the knee, down to the ankle, foot. All right. Shoulder here there's going to be one on either side if we're drawing through right. As can come up to an elbow and back to the hand. And then the little clause, the 123 and then that one digit that comes way back. And listen, if this is going way too fast, slow it down. We can slow it down here and we'll just go. Here's the torso, here's the shoulder, Here's the hip. Out of the hip, we can have this one coming back for one leg, coming down to a foot. This one coming forward for one late coming forward for foot. Right. We can have it coming up for the eval. Back to the hand, the wrist and the hand. And then back again for that one digit, right? And then what do we do? Well, we know there's going to be a neck coming up this way, right? We know we're going to have the head. We're going to have some type of cone for the beak. And we're also going to have some type of cone for the top of the head. So that's what we've got here. We've got this, we've got this cone, but it's split. He's opening his mouth. And this one isn't exactly a cone. It actually comes back a little bit. It's kind of been shaped to it. All right. But if we look at what we've got here, well, this kinda works because we've got this sale that's coming in. It's going to attach to the back, towards the back of the legs here. And just from this alone, from this little sketch, we can see what it is. It's some type of gliding dinosaur, right? Listen. That's what you're trying to get at. When you approach a lot of these skeletons, you're looking at finding the base that's functional. And honestly, if you've got a keen eye, it's also recognizable. Write out to an elbow, out to the hand. Making just kinda come up here and here's the head. They're actually, it looks kinda ape-like almost with extended arms, right? And then we start to add in the beak, the cone head. The last digit that comes out this way, I guess I should back up a little bit, comes out this way and then we can have income coming in, something like that. Yeah, you know what, even my little simplified skeletons here, totally recognizable as a trend it on, right? Yeah, I think it's pretty cool. This is what we're going to practice. I want you to practice. Let's see if we can do torso and little chevron like this would be kinda like a ribcage here. Alright, income. We've got the shoulders on either side. We've got the hips below. They're not very big, right? We're gonna put a little circumference lines in there. We can have one leg come on down, come on down into the foot. This one into the foot. Then to an elbow, and then down to the wrist and the hand to the elbow. And then maybe down here to the wrist and the hand. But there's this one digit. Imagine it like the pinky finger, but it's just a pinky finger. Really messed up, right? Okay. So just flicking on back, flick it on back up here. There we go. And then you could start to think, okay, well, this sale kind of thing, like I think of it almost like a bat's wing but a little bit more majestic or something like that. You know, how would it fold in between these points, right? Like it would be folding up and there'd be all these folds coming in. And just that right there is really funky looking on Digg and how this is looking. So you can have the head and if you want to, you can even draw a line and then have the cone kinda coming off there. And then on the opposite end of that, you're going to have the cone coming off there. There we go. Okay, So I think we're getting a little bit of a handle on drawing skeleton so far, right? Like the simplified little looks right? I think we should practice a few of them and see how it goes. I want to hit it from a few different angles. So bear with me and income. It's going to be simple. Let's see if we can get into it. Okay, So we're gonna have a little ribcage, right? And a little hips. And I actually want this one to be looking kinda like we're looking at its belly. We're looking up on it, right? So there's going to be the center line and then it's going to come and the neck is reasonably long, right? And it's got this geeky thing going on, right? Okay, We got the shoulders. And then what I wanna do, what I can do is actually plot the hands first, right? I could come to the elbow, come up there, come to the elbow, come up there. Okay. So I've got these little claws, 123123. All right. Okay. But now what about that pinky, right? I think I might have run out of room on this side, but I've got lots of room on this side. So I can have it come down like that. That's my pinky. Okay. And you know what, before I go on too far because I know they kinda kinda attaches down back of the leg here and stuff again. I can just put little legs, little feet. And he's flying. So the, the claws are going to be just hang in there. Right. Now. This is going to come in. It's going to come down this way. So this will come in and it'll come down this way. There we go. And that is our glider. Now, when you start to flesh it in and you can start to put in like kinda veins and stuff like that. You want to get an early and put a tear in there or something, it would probably affected the poor guys flying ability. You can put in like a little bit at like it could come like this, you know, put in a little bit of customization into the individual's, right. Let's go on. But how about something from kind of above C. Here's actually, I want to start, I want to back that out a little bit. I want to do the ribcage is something like this and the hips just at the end. So I'm kinda thinking like the back is over top here, right? So I'm kind of going with the back over top and then maybe the head here. And actually, you know, he can be kinda looking down as if he's, he's looking down towards some giant prehistoric fish or something, right? So if this peak is going down, then this thing is coming up this way, right? Okay, That little cone head thing. Right. So then I can add the shoulders on either side. I can put it out to a elbow and then the hand put it out to the elbow and the hand, all right. Back here. We can have nice little feet. And again, this is obviously ridiculously rough, right? And then this is where the magic comes in, this big finger, right? I'm kind of drawn off the screen here. This big finger brings it out and then kinda comes in, comes in this way. And it actually kind of like seems to attach a little bit at the back. There's almost a tail and then it comes this way. And then maybe I'm kind of getting off the canvas here a little bit. But yeah, these guys are looking pretty functional actually, right? Yeah. Although one kinda mess it up by running out of room, I should have probably drawn them a little smaller. I think that's my problem. It's just for fun right now. I'm just trying to get practice down. So let's see this one. Kinda half under, let's say he's flying away. So this is going to be as what and so I can draw the hip little joints late coming out back into a foot. It's hanging. Coming out back into a foot. It's hanging. Okay. Then there's going to be the kind of ribcage type of thing. One shoulder is going to be on this side. The other shoulder would be a little bit as if we're drawing through. Right. And so if this is the back than the neck can kinda come like this, you know, you want to flow in these kind of little itty bitty tail, right? It's gonna kinda flow and then have the head here. Something along those lines, right? And then this cone can come up that way. Okay? So this is where, if this makes sense, this is all like the back of him and stuff I got right. Now we can do this a few ways and this is what I really wanted to talk to you guys about in this is like, actually, you know what? I think I'm going to copy this, but I'm going to shrink it. Because I want to kinda play with a little bit. And let's try a few different ones. I want to try a few different wing formations and stuff and see if we can how that might look right? So I'm kinda going to drop these guys around here a little bit. Oops. There we go. Okay, I don't know if I spread them out enough because these wings are massive, right? On this one, we'll kinda go midline. Elbow, hand. This one's going to come back. Elbow, hand up here, right? And then this can be the pinky and this can be the pinkie. So then it would kinda come in like this kind of flows in and actually it flows back into there, right? Okay. So this one would slide in this way and slide back that way. Okay, so those are a little bit up on what do we have this one way? Elbow, hand. Elbow, hand, right. Pinky. Pinky. And this is me getting really like fun with it. And like I love just doing wings and stuff. So the soil attached down here and this will touch there. So that's, uh, you know, actually I don't even know if these trend add-ons had it like a big wing flap or anything, they seem to be more gliders. But I still think it's fun to play with wings, right? So the opposite would be down to here. And maybe down to here, hand, pinky, something along these lines, right? And I would come in this way. And then this pinky comes down. And so, you know, it's bat like in a way. But the truth is, I don't think that they had these. They weren't big flyers, you know. So it's fun to go to this extreme. I wanted to show you, you can like almost a 100 percent up and almost a 100 percent down. But if we're staying true to the actual the model, they're more just there for gliding, you know, uh, we all know, we know about them as they would hang out on, on these cliffs, grab the wind, and kinda CEO on down. That said though they could fly. And if you want to fly, you got to flip those wings, right? So that's what I wanted to play around with today. We're all these wings. I think it's kinda cool, right? So the takeaway is kinda like a real simplify Bird. Big turkey, small person type of look, right? With a ridiculously long pinky that makes the coolest, coolest wings. Okay guys, I hope that was interesting for you. And I really do hope that while I'm sketching along, you've printed out the trended on or whichever kind of creature, whatever that we are working on and stuff. And that you're not only doing these blue sketches and stuff again, but then you're after you stop watching or you pause it, you start to fill in some details. So you go back to the original reference and you'd say, Oh, okay, that's what it would look like, right? Like, I want to go back here and now I want to kind of open it up, right? Like what would this look like if it was open? Well, right now it just looks like he's opening and closing really quick, but I think you get my point. I want you to be able to, once you get the skeleton down, go back at it and start to fill in details. Look at the details on this guy, you know, look at, let's see if I back this way a little bit and look at where the nostrils placed, the eyes. He's he's just got this kind of, you know, there's brow going on over here and it's coming out the other side too, and then the eye is tucked behind it. The nostrils are probably on either side here a little bit. Is BP looking thing, right? You can play around a lot with this, okay? And just have fun. You know, you could put extra little claws on for grabbing onto fish or whatever and stuff, right? Okay. We've got four feet and there were four toes in the back and then this one on the inside? Right. Okay. Three in the front plus the long pinky. Okay. I hope that was informative for you. I hope that I didn't insult your favorite dinosaur just in case you'd love the trended on, right? But honestly, I think they're fun. I think they're fun to draw. Especially fun with like this, how they fold up their wings and stuff I get they just, they look scary. Maybe that's why I don't like them. Have fun guys and keep records.
17. Drawing the Velociraptor: Hey guys, I'm back. And in this one, we've got the favorite Jurassic Park dinosaur, the velociraptor. We're going to draw it and really see what makes it different than some of the other dinosaurs we've approached before. Let's get to it. I gotta say, I, you know, I love dinosaurs as a little kid and stuff, right? But it was always like the brontosaurus, Stegosaurus, T-Rex. Those types of ones that were kind of well-known, wasn't until Jurassic Park that this one was on anybody's radar. But how cool Were they in that movie, right? Okay. Before we get into it too much, we're going to talk about the structure and practicing and those types of things. I wanted to point out a couple of little things about the Velociraptor. One thing that I think is kinda cool, Are these, these right here, these toes, right? So he's got one digit, one digit, and then a third that's kinda hooked up, right? And from my understanding, it's used for gripping into prey from digging into it. So we've got 1, 2, and then this third that's up, and then a fourth that's actually on the back-end there. That I think is pretty cool. It's hard to see from this side shot here, you know, it's kinda hooked up here, right? But I think that's a very distinctive feature. The other thing we've talked about in different features and stuff again, is how to draw scaling and stuff. So you can go in and you could draw like the individual scales like this type of thing, right? And that can look kinda cool. What I would advise is don't do it over the whole body. Do it in areas of emphasis or something. You might want to put it just in a few things. So what I'm basically doing is I'm doing a little scale like this. Alright? But I'm making it really small here. So I'm just kinda putting some ticks for patterning. The other thing that you can do to mimic that is you can kinda do some kind of basically a crutch hat cross hatching style, right? Something along these lines, right? So it kinda doesn't even have to be. So regular can be kind of irregular. And it gives a similar scaling effect that can kind of flow. And you know what, this is much faster than doing those individual scales. It might not look as tight as, as the individual ones do, but it can definitely have a cool vibe, right? Okay, So if you pan out, does this one looks so much cooler than this one. Maybe it's your choice as an artist. This is where you start to choose and say, okay, well, this is the stylistic choice that I want. I want this amount of rendering, this amount of detail compared to something else, right? Another thing about the velociraptor here is these bottom legs. We can see how they're starting to really look like bird's legs. They've actually got the kinda coil tiling going on for a lot of it, right? So it very much reminds me of chicken legs down here. Okay. That's, I think that's what I wanted to cover for some of the particular details of the velociraptor rendering. It's your choice how, how much you want to do on that. You know, you want to have these individual little scales or do you want to have a bit of a cross hatching that seems to work decently, but it's a little bit faster. All right. Okay. Now that we've got that down, why don't we go on to doing some of the normal things that we do for constructing a character or a feature or whatever it is. Okay, so nice and easy. We've got the hip. We can see from the outline, this is roughly where it is, right. And then we've got a ribcage that sits kind of like this. Okay, If I was to draw through this character back here, we would have the hip in the back and then the ribcage sitting up here. Now listen, I know this gets a little messy, but I want you to think of like two spheres, bowls, ovals, whatever you want. And you can kinda interchange them, move them around, put one in front of the other, right? Learning, hopefully you're, you've been practicing your circumference lines and stuff like that, to be able to rotate them around, to turn them. And that's what we're doing here. We're rotating. We're going to be rotating a lot of these features, right. But this is the court this is where we're going to start. We're going to start with these basic spheres. Squished spheres. Sometimes some of them are. So we've got the hips, we've got the, the main ribcage and then a nice kind of rectangle for the head. And now you can see from the side. It just looks like a rectangle. Basically write little bit of an elongated square from the front, it actually narrows. So here's the back of it, little bit wider and then the front of it would be a little narrower. Snout. Right. So we could carry it on back like that. Okay. So that's what I'm drawing here. Hopefully that read pretty well. If it doesn't, what you can do is just kinda, you know, practice drawing. See-through cubes or something like that, right? That helps. So all of these basic forms, I really hope that you take the time to practice them because once you get them down, you'll be able to really understand how to draw these characters, these creatures, these monsters, these legends, whatever they are, right? In this case, the velociraptor. Okay. So we've got I'm plotting and where the hip joint would go and where the shoulder insertion is? The hip would go down to a knee. Down to what would be the ankle? This is would be the heel if we're thinking of it like humans type of thing. And this would be the foot. And then we've got the toes coming off of the foot without one weird one inside, right? So let's see if we do this. The hip insertion is up here. On both of these. It comes down to the knee, goes back to the ankle. And it comes down to the foot. So it comes out to the knee, goes back to the ankle and then comes down to the foot. Let's see if I draw this beside knee, ankle, foot. But as you're noticing, this foot is almost like a human foot, whereas in this section is kinda on a tip toe and then the, the toes would splay out from there. So this comes up and it's plays out, splayed out, and this one hooks up. This one's plays out for the month ago, displays out, and then this one hooks up. And then we've got that little rear knob on the back there, right? Little reared up back there. So let's see if we practice this side a little bit. That's the hip insertion down to the knee, down to the ankle. It comes out to a foot with a little bit of a heel there. And we've got to maybe a TO a toe in the net, weird hook TO, and a little one behind. This is a leg formation that you're really going to have to get comfortable with. Most BCE animals. They have this, the whole, you know, the human hip, knee, ankle, heel, foot, toe formation is not as common unless you're drawing humanoid characters, right? So keep that in mind. Get really familiar with this quote, unquote, dogs lake. Okay? Now the heat, the tail is going to come off and it's going to come back, right? It's thick, it's tubular. It comes off the back end a little bit on. It doesn't come straight off, off of the rump though it and kinda you could think of it like the hip and then coming from the hip, it comes out, right. So imagine it inserting here coming out and then coming back that away. All right, why don't we drop it down and see if we can redraw this a little bit. We're going to draw the hip. We're going to draw the rib-cage. And I really do hope you're following along with me. We're going to draw Oh, you know what, I didn't even insert the neck where the neck is kinda funny. I almost think it kinda comes up here and then Judson, so you can kind of think of it coming up and jumping in, right? We've got the rectangle there, right? We've got in the midpoint for this, we can come back into a tail. Okay. We've got the insertion for the hip and the shoulder. They're going to come out into a knee, back into a heel. We're going to have that little heel spur and then a foot and then the toes coming off of that. This one is going to drop down to an elbow, out to a wrist, the hand, and then the clause coming off, There's actually three. It's hard to see in that one. Quite long actually, right? And another thing I want you to get used to is drawing through. So you know, on the other side of this dinosaur skeleton, There's another hip. If we're looking at this straight on another HIPAA insertion, another leg, all that. So you know, what we can do is kinda imagine it coming through like this, coming back like that. There's the hip, it comes down to the foot and then something like that. Right. And this other arm could be here up to here, and then more hands headway on this particular one up here. I just kinda drew it a little bit flat just so we can understand some of the parts where I'm coming over here. We're gonna do the same thing. We're going to draw the hip. We're going to draw the torso that's in front of it. We're going to draw the insertion for the hips. We're going to draw the shoulder insertion. Okay. We can come down on these first and do the elbows. Then come forward a little bit because there's some foreshortening going on here. And we can draw the hand, the wrist and the hand. And then we've got these ganglia. Claus kinda hanging off there and you can even get D to make sure you come in here and do. Okay, we've got three knuckles that are coming out. We've got the knuckle joints partway down. We've got the end of it. And then we've got the clause hanging off, right? So you can get into more points of articulation depending on how detailed you want to be. Okay. We can come here and draw knee. Come over here and draw knee, go back, go back and draw that angle. I'm going to do this a little bit different. Have this foot come in this way, this foot coming this way, although it's similar, but I want to splay it out this way, splayed out this way. And have this weird funky toe coming here. Alright. So already, you know, we could have like a head here or we can, we can start to move things around. I'm going to do it the same as we've got it above here though, just to be clear. So here's the front of the box, Here's the back of it. We can bring it up this way. We get that way. And then the neck comes down, it flows over the back and then back around and then the tail comes out, right? Something along those lines. There we go. So what do we think? Or we semi comfortable with a velociraptor. You know what, I think the key is to keep practicing, right? So we've already talked about rendering, but I want to practice on this skeleton more because I think those details can always be added. But, you know, you can't have a decent cake unless your foundation of the cake is really, really strong. All right, so we'll, we'll draw a few more here. Hips, torso. Why don't I plot in the head. You can start kinda wherever you want, right? Like you can start with the head, you can start with, I'm having this guy Look at us a little bit more, right? So I've got the shoulders here. I've got the hip joints here. This can come down to a knee, back to that ankle, the foot and then the toe splay right. This could come a little bit forward, back to an ankle, the foot coming down, and then the toe splay. And, you know, you can make sure you've got that back, that back a little hook and that funky weird TO sticking out there. This one can come down to an elbow. I don't know what do you think? This one maybe further and it's kinda hanging down here to the hand. This one comes forward to the wrist, the hand. And then you can start to add in all those points of articulation in the clause, right? This neck is going to come down, come over, come over this way. And maybe the tail can come up like this, right? Tail can come along those lines. There we go. That's looking pretty funky, right? This is what I want you to do. So I want you to be able to draw, you know, like just easily the different pieces of it, right? Maybe we can actually have him looking up here. And then we can carry this tail out. When we make them run. Yeah, this hip should be a little bit bigger, but we can have the foot back here. So how would I get there? Well, I can go back to the knee, back to the ankle. Here's the foot, Here's the clause. And then the other one is going to be coming. I want the foot to be maybe. Here are the the toes, right. So here's the foot. Well, then that means the knee would be here and I could come something like this, right. So the foot coming down and then the clause coming this way. Here we go. It already looks like he's, he's moving. His hands tend to hang. So it comes back to the elbow and up, back to the elbow and up, and then we've got these claws going and maybe he's, he's got a snout up in the air. He's kinda looking at something. He's crawling along. There we go. So he's kinda creeping along here, looking at what's happening, right? Maybe draw it from another perspective. I want to draw it from looking straight down at it. So here is the hips romp type of thing. Here's the torso. Here is going to be the head. The head is going to be here. So something along those lines. So he's looking we're looking straight down at him, right. And he's looking at up at, up at us. So that means his neck is going to be actually coming down this way, coming into the torso here, right? So the shoulders would be here and maybe hands down here, things hanging and you can see how rough I put this in, right? Like when you're doing these little stick man drawings, you want to just really be roughing it out. The feet might be somewhere here with the clause, right? That inside one, the knee would be here, so it's coming up to the knee, back into the hip. You can kinda chase it back. Either way. You can come from the circle and come out to the feet or the hands or whatever it is. Or you can draw the feet first like sometimes grounding them and then chasing them back into how they would fit, right? And then so this comes down across and this tail comes out. Maybe the popular tales, something like that. Right? There we go. So now we're looking down at this B strep. Some things about the head that I wanted to point out to you guys just a little bit. Is let's see if I can I see what I did there. You can see that there's this nice little ridge that goes over and then comes up for the I. So let's see if, if I'm drawing this box here, right. This would be the top of the muzzle type of thing. It could come back back. And then we've got this kind of shape that comes over the eyes and the nostrils are in here. And then you can have the Eisenhower and kind of shape them out. Okay. With the lids. And of course he's got tons of teeth, you know, big mouth, lots of teeth going on. Another thing that I would pay attention to, the tendons that are attaching the teeth, the tongue that's coming out, you know, you could do all that kinda stuff, right? Okay, So we talked a little bit about the specific rendering, right? Choosing between a lot of scales or just this kind of cross hatching. And then we talk tons about the simplified skeletal system, right? Making note of how many clause toes are coming off of each, each foot or hand write and how we might incorporate the head, the tail, all of those things as we start to move around or simple shapes, putting one sphere in front of another, right? And then easily starting to add things in. Something like that. Okay guys, I hope that this Velociraptor was interesting for you. I hope you learn even more about how to practice that dog leg and work on creature and specifically dinosaur drawings. Hope this was fun and I want to see some of your practice shots, send them off to me.
18. Creatures Thank You: Well, How cool was that? Dragons and monsters
and dinosaurs. Omar recovered so many preachers
in this course, right? It can be, you know, can
get a little in-depth. Sometimes it can, you know, you can go down a rabbit hole of understanding
anatomy and stuff. So I understand if it's tough, I understand if some
parts of it if you struggled with my
first suggestion would be go back and review it, go back into it, and really
take those units again. That's the cool
thing about video, right? It's always
there for you. Go back and check it out. But if you're still
a little confused after you've done
that, No problem. Leave a comment or shoot
me a message and say Edit. I'm not sure about this. And i've, I can answer it
in a short little blurb. I will I'll write it out
for you if I can't though. Well, maybe I'm gonna do up a whole new unit for you, right? Maybe I'm gonna do up something that will answer this
question for you. Because chances are if
you've got this question, Other people have this
type of question two, and I've got no problem
creating new content. Speaking of creating content, I've got a slack of other
courses on this site. If you like this course. Go ahead and jump
into my next one. I think you'll really enjoy it. And speaking of
liking this course, if you did, it helps me tons. If you give it a thumbs-up,
write that nice review. Because that helps me to know that I'm on the right track
in creating content for you.
19. Giant (Galactus): Hey guys, I'm back. And in this unit we're
going to talk about drawing very large people. Some might say giants. But what does a giant look like? Other than to say, well, he's bigger than
the average man. Alright? Andre the Giant is
an example of that. A big guy and the
giant, alright? But depending on what area of fiction you're getting into, giants can take on certain looks like you can blow them out like weirdly like
attack on Titan, right? You can make them look foolish
or something like that. Like a number of fantasies do. My preference. And the one we're
gonna do today is galactose from the
Marvel universe. And that's just because
it's easy for me. But whatever it is, it
doesn't really matter. The foundations are the same. We're drawing really
big people today. So I'm going to zoom in here just a little bit
and I'm going to show us that we've got
zoom in even more. We've got to figure down here. And a figure up here, right? So if we come on down here, I'm hoping by now you
understand the rule of eight. We've talked about
different rules. I'm not even going to
say the rule of eight, I'm just going to
say the rules of, of height and stuff like that. So I could go off the top to
bottom, the crotch, right. I can do a midline here. I can do a midline
here and I can start to dissect slash
bisect this figure. And if I look at
this figure, well, he looks pretty normal ways. Silver Surfer, he's
kinda muscular, right? But he looks pretty
normal otherwise. But he's definitely not as tall as collectors here, right? Nor close. So what I'm gonna do
is kinda just see if I could duplicate this a
little bit and move it up. So there's one, I'm going
to duplicate it again. There's two. Duplicate it again. This is tedious. Three. Okay, so he's already
What does that? 12344. And let's do
a little bit more. We're going off the scale there. Okay, so what does this show us? I'm going to break it all down into this and just say, well, I'm going to say his
head like if I was to get in and draw a
galactose here and drawn without this giant
machine thing on his Mellon, most likely it would
be something along this lines down from here and I'm just
kinda sketching out the skull just a little bit. Okay. That looks about right,
right somewhere around here and coming down
to there. Okay? So here's this melon, right? And if I bring this along, well, how many
heads high as that? Or rather how many Silver
Surfer as high as that, right? Is that here's one, here's two, here's
three, here's four. Silver Surfer, let's
put them at six foot. So we've got 612-182-4204
and some change. We're looking at maybe 26
ft or something like that. Not counting that helmet. That's about right for glottis, 25 ish feet, 26 or whatever. Throw a little bit extra
skull room on that helmet. And you're looking at
closer to 30, right? Perfect. That's what I want and
that's what we're gonna do. We're gonna do the exact same
thing with galactose and just kinda track it down and see what does this look
like as as a figure, right? If I was to draw, that would be my
half-life, right? I'm kinda measuring it
somewhere around here. Maybe. It looks like around half. Maybe a little bit higher, some yeah, somewhere around
this marker here, right. That's an easy one to benchmark. Half of that is around the PEC, half of that is
around the chest, half of this is around
the belly button. Half of this is around the knee. So that's that's what I'm
kinda looking for right? As those markers to see if it stays relatively consistent. Now, this is easy enough to do, to go in and start to draw out the simplified
skeleton that we've, we've practiced so many times. We've practiced this
simplified skeleton a number of times. Doesn't matter that it's bigger. No, I don't think so. We're still got elbows. This particular giant still
has all his normal bits. We come down to the knee. Come down to the knee, come down to the ankle. Ankle ish. Here's the heel, Here's
the front of the foot. Here's the heel, Here's
the front of the foot. And if I back out and
take this all away, what does that look like? It looks like our simplified
skeleton that we've done many, many times, right? So that's what we're going
to practice here and this is how we're going
to first approach. Drawing a giant is we're just
gonna do the height thing. Oh, I can see where I went a
little, little funky here. I'm measuring from his his heel and he's standing over by
the toes a little bit. So if he was back, yeah, it'd be closer to
24 ft or something. But let's do that. Let's come off to the side here where we're
looking right here. Let's carry this over
and carry this over. And let's draw a
little Silver Surfer on your sheets. I hope
you're following along. I want you to do the
exact same thing. Cut it, cut it in half. Cut it in half again,
cut that in half. You can cut it in half.
They're cut it in half. Knees. Draw the head. By now, I'm really hoping you're feeling way more comfortable
with a simplified skeleton. Okay, so we've got his arms, this one's coming
down to an elbow. His hand is right
about crotch level. Right. Okay. This hand
is holding onto a board, so Elbow comes here and
then out coming down his his ankles are
random boats here. So I could even just
bring his legs down. Knees are halfway. Guys a little underwear line
there if we want to put it. And then the feet the heel
and then the foot comes out. Heel and then the
foot comes out. And obviously I can draw his board will get
that was super fast, but that's just
because the surfer is not the main issue here, right? That's not what
we're looking at. What we're really going
to do is just make sure that we can draw galactose
standing next to him. So I'm going to carry this line over and I'm going to
carry this line back. And I'm gonna do the
exact same thing. Now, here's my giant standing next to the
shorter guy, right? What do I do? I cut this in half, then half their
cut in half again, half again, half again. And maybe Kneser
about here, right? So if, if his head is somewhere
around here, ish, right. His torso is going to be ribcage is
somewhere around here. Shoulders back, shoulders
over here and actually ease a little bit wider in
the in the Chevron there, coming back down to here. And again, like I said, this hand is somewhere
around the waist. You're going to
come to the elbow, come up to the hand and give
them menacing power stance. This is super basic
and you're like, dude, I could draw this, like I have drawn this. This is, all you're
doing is just drawing a figure again and
again and again. And what are you doing to me? Well, two things. I'm messing with you a little bit and I'm going
to explain why. But I'm also giving us a
little bit of practice here. Okay? So if you can't draw, look at this figure
and draw next to it. Looking at these figures and
then carrying them over. In just this simplified form. We've got a problem. You should really be
able to do this by now. Honestly, like I'd be shocked,
saddened, frustrated. If you can't do this yet. Please make sure you are
pretty comfortable in drawing this figure before we go on. Okay, So right now, makes sure that this is the easiest thing in
the world for you. Do this 100 times. Drawing these little
simplified skeletons, stick figures with
articulation and stuff. And if you can do that, then you can start to move on. Okay, so what we're
gonna do now is we can start to add in
details if we want. I'm not even that
concerned with it on this particular
piece right now. I can start to come
in here and start to look at the head of galactose coming up into what is a bit of more of
this head piece, right? It comes up here more. And then I can start to put
some landmarks coming up. So just sketching,
putting this in, I put galactose here, not because I want you to draw them. Let's see If not because I'm teaching you to
draw these details, but because there's
lots of details here and they're going
to play out just a little bit different. Once we start to get into something I'm
going to show you, you can start to add in
all this extra stuff, putting in the big
chest plate here, the circles and stuff, right? Putting all that in and
all that kinda stuff like this is going to be way too long and this
is not the lesson. The lesson is not in
glycolysis details. Lesson isn't something else
because first one was simple. Here's a little Shorty. Here's the big guy
standing next to him. It looks like a giant, right? This is the easiest
way to draw a giant is here's a big guy and here's a short guy sitting
next to them, right? And especially in
these proportions, they're both basically
the same proportion that eight heads high, eight heads high, right? I'm not counting this
helmet. There you go. That's how you can draw a
giant that's less than one. Less than two though, we're going to change
things up a bit. I sketch this out. We're going to look at
it as if we're looking down a little bit
on on galactose. Okay. More of a bird's
eye view at FIM. And so how are we
going to do that? Well, the skeleton
mastery helps, but something else helps to, and I want, I want to
kinda show you that. One thing that helps is
finding other landmarks. So e.g. in this one, if I go like this
and take a pen and draw it down to the outside
of the foot, right? I don't know. Can you see that? Alright. Maybe make it just
a little wider. So I'm taking a green pen
and kinda doing the outside. I'm going to take a green pen on the shoulder here and
draw it to the outside. You can see, generally speaking, actually, maybe I'll even
that little bit better. Here we go. Generally speaking, these
are straight up and down. These are straight up and down. If I use these landmarks. Now I'm gonna come down here
and go from the outside of the foot to the outside
of the shoulder. And the outside of the foot to the outside of the shoulder. What is happening here? What is this? What's going on? Well, it's kinda exactly
what I was talking about. It's that bird's eye view. We're recreating this
angle where things are looking down at
our figure, right? So I can still come in. I can still do my
simplified skeleton, but I'm gonna be looking
down at things, right? The chevron here in the chest, the shoulders that
come off of it, Chevron will come down and I can look for little landmarks as I'm rolling through this
thing a little bit, right? The hips are going to be there, but realized that
I'm also looking at them a bit from not a bit, but a lot at this
point from above. I'm going to come
down into the knee, down into the ankle. Down into the knee,
down into the ankle, out into the foot.
There's the heel. The heel is back here
in the footnote here, right down into the elbow
out and into the hand. Out into the elbow and
then up into the hand. Let's let's see if we can
draw this off to the side. The first thing I wanna do, I want you to follow
along with me. See if you can is two, and this is in case you
haven't figured it out, this is going to be less than number two, the bird's eye view. So we're going to use
these perspective, least kinda loose
perspective lines and see if they can
help us a little bit. And looking down, getting
this bird's eye view figure. Okay, so I'm gonna
kinda see if I can do that and see if I can do this. Okay, So now, now
that I've got this, I've got these lines going on. How do I find where
everything is placed? Well, I don't know
if you know this, but if you draw
just a rectangle, I'm just drawing a
rectangle and you go from one corner to the next, one corner to the next. This point here, right here, is the dead center. That's how you can figure
out that dentist center. And even when some
things in perspective, you can still do the same thing. So let's say I want
his height to be, I'm going to carry it
over and I'm just kinda, kinda keep with some
of these measurements. Will go with his heel down here. We'll keep with
that measurement. Let's say I want this
to be as height, right? Okay, so this is a top, like we've got over here,
and this is the bottom. So that means I'm going
to go from here to here. Right at this point. Oops, kind of missed
the mark there. Right at this point. That's his midsection or
that's his crotch rather That's how we're measuring that he's eight heads high, right? So if I want to, what I can
do is right here to here, That's going to be his chest. Here to here. And that's going to be his head. Now. His head's leaning
a little forward, so it's going to change
things a little bit. But this is how we can
do the measurements. Okay. This point to this point, well, that's gonna be his knees. So let's see if I can sketch
over this just a little bit and see if this
makes any sense here. I'm going to grab my blue
again and I'm going to have the head and
he's leaning forward, so the head is going
to come forward just a little bit over this line. He's tilting his head
forward a little bit. The shoulders are
gonna be back here. They're gonna come down. Over here. His hips are
going to be in here. With that belt line. Right shoulder is going to be a little bit
lower than that, actually, probably
there and there. You can see what's
happening here is we can use the landmarks. Okay, his, his crutches
about this height. So the hand is gonna be there. This hand is going to come here, or arm is going to
come to the elbow and then up to the
hand here, right? Okay. And then we can just
actually bring this all the way down if we want
to bring it all the way down, these we know the knees
are gonna be about here. The ankles, the
heels and the feet. Heels and the feet. And look at that. What did we do here? We figured out how to draw
this figure in perspective. Now, it's not gonna be exactly perfect because I kinda
went a little wide here, I can see compared
to this one, right? But now if we wanted to, we could definitely start
to bring this up and start to add in
all the details of his unique little features of the helmet and stuff, right? So we can add that
in and stuff, right? But what the key point
is here is that by using this bisecting
measurement trick, you can find a
better guesstimate of where things are in there, halfway points in your
measurement, right? So again, just a
quick little review. What you do is just
scheduled some light, very light perspective
lines and then just start to cut it in half. Cut that in half and
it doesn't have to be super accurate,
cut it in half. And then this now gives you a guide for where the head is, where the body is, where that crotch line is, where the feet would be, where that the knees would be,
that type of stuff, right? And that's how quick
you can use it for drawing the bird's eye view. Okay, we're going to move
mozi on down and we're going to look at it from
a different perspective here, the worm's eye view. So this one is going to be
attacking number three. Now, let me ask you. When we looked at
this first one, compared to the Silver Surfer, he looked like a giant, right? But what if I took
the surfer away? Would you still
think he's a giant or does he just look like some dude standing there
with a lot of junk going on. It's costume, right? Sometimes changing
the perspective, especially, and then adding surrounding things
and stuff like that. Give that feeling of, wow, this is really a giant. This is something special. This is not just your average large helmeted dude
standing here. And so the bird's eye does that. But I think in my opinion, and let me see, I got
to move it on down. The worm's eye does a
better job of that. Okay. So our measurement before
was from the shoulder to about the ankle
and I'm kinda guess guessing where the
ankle is on that side. I've turned the figure
just a little bit so it's a little
hard to tell but you can tell that the ankles
somewhere around there and this shoulder is probably about there and it's
coming down to the ankle. So let's see if I can just play out these lines
just a little bit here. Bring it on up. And I'm going to say his head's probably
somewhere around there. Roughly could be a little
bit better than that. And down at the feet here. So if I go from
corner to corner, corner to corner, roughly, this is where we said
that midsection was. Remember we're
using this landmark and I can bump
that a little bit, but roughly that's
where it was, right. We're using further down. We're using this is
that landmark and that lands kind of well in
this measurement, right? And then if I'm going to
go from corner to corner, corner to corner,
well, what does it do? It gives me my nice alright. And I can keep doing this, getting my measurements and
stuff I got Just saying, okay, well, roughly
That's the PEC. And come over here.
Come over here. And I don't always use
the, there's the head. Alright? I don't always use a ruler
when I'm doing this. Usually if I'm loose
sketching because I want my finger to stay loose, I'm gonna loose, loose sketch
with, without a ruler. So let's see if we can create this a little bit,
going side-by-side. So instead of
straight up and down, I'm just bringing it out, the base out a little bit. Okay. So you can see it's a little bit narrower up top than the bottom. And create a base here that's a little bit
more even than that. Create a top. And I can even carry
that over here. And then I'm going
to start to divide. I've got my, my ruler fighting
me just a little bit. We can divide. Sometimes your
technology doesn't quite do what you want it to. Divide. There we go and divide. So if I was to draw my stick man over top
of this now, right? What do I do? How
would I do this? Well, same thing we
always do, right? This is gonna be a
little bit angled. If I'm going to keep looking at this guy here right, then. So what I would
do is kinda like. Use this as my base of my chest, but like kinda come over here
and my shoulder is going to be on the outside there and my shoulder is gonna be
down in here. Right? So if this is my hip in here, and you can measure all
this out if you want, right down to like
where the belt line is, you can spend a lot of
time kind of getting your proportions exactly
right if you want it, depending on how much
time you want to spend. Here's the head, right? What can this way, this
is going to come here, then come up into the hand here. I'm not doing exactly the same, but pretty darn close. Going to come here. I can see how everything
stays very close. Here's my crotch line. I'm staying close to it with once I've got some
things measured down, It's not too hard, right? I'm going to do one knee
here, one knee here. This one's going
to come down here. I'm going to have our ankles, heels, foot, yields foot. And that's how you would do a semi worm's eye view
and you could even push it further if
you wanted to do. I mean, like you could
really like, really, really push that
perspective line and push it this way, right? And what was that gonna do while it's just
going to feel like that person's looking
way up at a giant. So even without
the Silver Surfer in these pictures right here, we've got the makings
of a giant, alright? And you could do this with
normal figures, you know, give them an imposing
worm's eye view and it can, That's exactly what
it does is it plays out as looking imposing
in your drawings. But I wanted to show you using it in these different stages. How you could use number one, a comparison to a normal figure. Number two, that
bird's eye view. And that way you can add like
smaller things down below. I mean, all that kind
of stuff, right. And number three is more
of a worm's eye view. Like I said, you could push
it even further if you want. What I'd like you guys
to do, if you can, is I'd like you to draw this
one off to the side too. This one's a little
bit different. What I did was I sketch
this out before. And I was like, okay, well, I want you to draw
galactose with the surfer, but the surfers
bigger because he's closer to the viewer, right? So that's another way
you could do it, right? You can start to
play around with it. As in, you know, things are in the foreground
looking bigger. Collected in the background. Might be smallish in a way, but he's huge compared to everything else
in the background. What I'm gonna do
is I'm going to send this sheet off one as almost a blank and then to using like having a lot of
blue things here, okay? The reason I want you to
do that as two reasons. One, number one thing in this lesson is for
you to be able to draw these basic skeletons in a bit of a perspective and playing around with
it to make a giant. Alright, that's, that's
the main purpose. But two, I'm going to send out the blue sketches that
I've done because I want you to draw galactose. Why not? He's here in front
of us and you know, whatever fanbase
you are part of. This is a cool to
configure, right? So I want you to draw
glottis and send it to me. So actually this works out
to be two assignments. One, draw the blue figures and really see if you could
push the perspective on them. Really have fun
with showing size. Size with just a
simplified skeleton. But to draw me some galactose, I love glottis,
love the character. He is the world leader, right? Let's see, let's see
what you can draw. What see what kind of
imposing menacing. Look you can give me. Okay. I'm going to show you. So I still got one there. There we go. What I did was I drew
this out the other day. So that this way you can see a lot of the details
of the armor. Like really, there's a
lot of details there, just in case you're not familiar with the character that much. It doesn't really matter. What I want is for you to be
able to have fun with it, draw those details in and
just play withdrawn giants. Guys. That's the assignment for you. I hope this lesson
was valuable for you. Like I said, if you don't have the
simplified Stickman down, this kind of stuff is
going to be really, really, really,
really, really hard. But once you have that down, then you can just
sketch along with me, just bam, bam, bam, and you're getting it. You're not learning. You're not struggling drawing
your stick, man. You're, you're putting the
attention where it should be. And that's in the lessons
that I laid out here, 12.3. I hope this was fun for you guys because I
really enjoyed it. I'll see you next unit.
Ed Foychuk, Making Learning Simple
